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AudioRepair Toolkit User Manual

1. ooccoccocccocconconncancnnconncnncnnconacanrnaronnrnnrnnnranenass 145 VIVO OW Se noc lidad cti 145 FIle amp Project SNOMCUTS cut dirias iii 145 Playback MOM CUTS uan 145 EHUN ONONO kosgemeee ence ewe nintre te rr tre ite a AO ore eee vee 145 MeWIAd ACO a 64 U i osenete ta 146 Track Prep 147 System 147 Appendix 3 Contextual Menus ooccoccoccccccooconconncanonaccnnonnrnnconananconronnrnaronrnanonass 148 CONOC Criss la cee as eerste rae aida ias 148 I ches NV GNC LO adriana 148 Vit Sal Overlay ON satiated caaand EST 149 athe TRACK DAS ASA SA EAS 149 Nte waver orm QS plastic 149 Oma Tack malk nuni a aa ai onic Gd ee eae sd Must ats 149 AudioRepair Toolkit 1 0 User Manual Index ocooooococcocooconconooconconcancaananonoos 151 Page 9 AboutThis Manual This manual as well as the software described in it is furnished under license and may only be used or copied in accordance with the terms of such license The information in this manual is furnished for informational use only is subject to change without notice and should not be construed as a commitment by Sonic Studio LLC Sonic Studio LLC assumes no responsibility or liability for any errors or inaccuracies that may appear in this book Except as permitted by such license no part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording or otherwise withou
2. Cory de F E set bess Slope m Hayes Ca Simon lace T E TO dd loo pro 4d a CE EG B geia L Y raa A i is Arata os T an dio ETE a Mii p mn A TEO FEA Ca dr E EJ gt ma p a_i 5 www sonicstudio com E k or z i oa Bai A aT A fk nH oa A he lisa Table of Contents Chapter T INtroduUctHON sssisnsnsita raid 11 Chapter 2 Quick Stars ri ap la 13 2 1 Before YOU Belinda 13 2 1 1 Mac System Requirements etica ad dd 13 2 ME Installation A ACTIVA HON ondaa orcas 13 2 1 3 L st Your Activation Code uni 13 2 2 Recording WIDAR ai 14 2 2 1 A A O OO 14 2 2 2 Denning A Recording Path lini AR TMDecrricaridiooliaiacie odiada tics 16 2 2 3 ART tnhpuUt Ser Un a A di 19 2 2 3 RECOrAINO iia a E E E E aadan 19 LS Re data ati Step By Step ExportYour Recording 21 2 3 1 How To Export Your Recording as Separate Files for Each Song 22 2 3 2 How To Export Your Recording as One Long File ccc ccc cece e eee e ee eee 25 Chapters Basic Operations latin 32 3 1 General Workflow Explanation of Terms Used oocoonccnccccncccanccnnccnnncnanonancnanonanonos 32 3 2 FOSA VOU Larra ii ci 33 3 3 Stalting a Project Opening Files aran dE 35 3 3 1 Opening Pro ec Sra a R 35 ee Opening Sound Fles sti A A ere ere er ee 36 3 3 3 Adding Your First Sound Aldea A aAa 36 3 4 VVAV ETOL 8 PERS Po E O 36 3 5 A ditiomiAg SOU Arta is 38 3 5 1
3. Page 20 You can also open existing files To open files first collect the desired audio files drag them and drop the files onto the top Panel If you would like to create Track Marks then hold the command key down when releasing the files The command key is only needed just before you drop the files ART will automatically create Track Marks displayed in the Track Bar from your audio files HINT More on recording can be found in Chapter 5 page 61 of this document NOTE Remember to Save your projects using the File gt Save command It s a good idea to save them in the same folder as your recordings See Appendix 1 on Project organization Project files are very small and take up little disk space ys Learn More on playing sound using ART can be found in Section 3 5 Auditioning w Sound 2 3 Step By Step Export Your Recording Once you have finished a recording the files or folders you create can be dragged from the Finder and dropped onto the iTunes window to import it into your iTunes library However you may want to take advantage of the Export File or Export Tracks feature in ART This section covers the basic steps to export a recording for use in another application such as iTunes Exporting allows you to capture any changes you make to the original recordings as a new file Some common examples of why you want to export and make new files e create custom files of each track or different sides of an album
4. to invoke a contextual menu Page 58 Lock Gain Node Y Unlock Gain Node Delete Nodes from Selection Lock Nodes from Selection Unlock Nodes from Selection Lock All Nodes in Track Unlock All Nodes In Track The Gain Node contextual menu By default the Unlock Gain Node option will be checked To lock the selected Gain Nodes click on the GainOverlayNode Locked option The selected Gain Nodes will now turn red to indicate their locked status Unlocking the Gain Nodes simply requires selecting the GainOverlayNode Unlocked option In the same contextual menu Nodes can also be locked and unlocked for the whole Panel by selecting the Lock Unlock All Nodes In Track options Delete Nodes from Selection deletes all Gain Nodes in the current selection If no selection is made but one or more segments are selected all nodes within the selected segment s will be deleted Once Gain Overlay is used the gain changes stay active in the output of ART both during playback and Delivery To temporarily bypass the Gain Overlay select the EDL gt Bypass Gain Overlay command Also the Gain Overlay can be put into bypass mode by option clicking the G or Gain button on the left side of each Panel In both cases the Gain Overlay line will turn grey and the Gain button will turn yellow both indicating the bypass state Once in Bypass Gain Overlay can only be activated again by selecting the same command which changes to Activate Gain
5. e Set up inputs in ART e Record your files e Add metadata tags Album Artist and Irack name to each track e Export your files and add them to your lunes Library 2 2 1 Input Set Up Audio MIDI Set Up AMSU is the sound brain in your Mac AMSU Utilities Audio MIDI Setup app is where you define audio input and output routing for your computer into and out of ART In this document we ll show two examples for getting audio into ART Using the Built in functionality of your Mac and using an external digital to analog converter ADC 2 2 1 1 Using the Built In Functionality of Your Mac Your Mac has a built in digital to analog converter ADC which give you the ability to digitize the output of your turntable pre amp and record into ART While not as high quality as some external analog to digital converters it does provide a clean and simple way to record your vinyl or other analog source at sample rates up to 96 kHz and 24 bits For example the signal flow for recording from a turntable is Turntable gt Pre amp Phono Stage gt Line Input on your Mac Page 14 RCA gt 3 5mm Tape Out or Line Out q a 7 090 ma Signal Flow Turntable gt Receiver or Phono Stage gt Line Input on Your Mac NOTE A 3 5mm to dual RCA adaptor cable is required for this set up To use the built in audio functionality of your Mac to record your music into ART you need to create as a single device known
6. 7 8 7 ZOOM around LAV VS Ge sais cts attra ess Sie ae ewe a a eh eae es See 95 7 8 8 ZOOM around Selection COnter ar ai idol 95 7 8 9 ZOOMA Selecion o tar ENG sien donacion diia 95 7 8 10 ZOOM tO Selec Nui a a td dades oca lero Dt died 95 7 8 11 Zoom to Entire Project Trackosiconatcnte dear iio nbcids 96 7 9 The Windows Menu stas ise 96 ZOA MICO Gan ara rra a E e a T 96 Page 7 P92 EQUlNZE urinarias 96 7 9 3 EXPOS OUFE Oksana a std rar dra 96 7 9 4 EXDOFE TRICIS A ASA ATEA AENA 98 7 9 5 The Preferences WINdAdOW occccccccccccccconnncccnnnnnnnrrcnnn rr rr rn eee een eens 100 7 9 6 TREE Meninas ciao 105 Chapter 8 NoNOISE ll DeClick amp DeCrackle 0 lt lt 00000 lt 0000000000000000000 106 8 2 3 Basic Manual DeClick DeCrackle 00 eens N EE 106 8 2 3 1 FILER DOlaviON AIG ON Its eE a area smears 107 8 2 3 4 Using DEClick and DECraCk 6 sicario llo lrs ri bis esrrdada lina 108 Chapter 9 Broadband DeNoise cooccoccoocooccooconconncanconnonnconconconnronrnaronarnnrnannnaos 111 9 1 OVNIS sra paisas elias 111 9 2 The No1se ESTIMA uc aud iiceacneeaemaa nated Roce Rete teee eee 112 9 2 1 NOISES lo S a a E E een ae wee awasene 112 9 2 3 VNS tO take an ESTI ate labeler eae ay etait eats 113 9 3 User Interface OVErVICW sisi da 114 9 3 1 TAKES EA anni daa da as 114 9 3 2 ODEn ESTI ari a 114 9 3 3 NONG SCT Tas a da aa copia a oa cd aca 114 9 3 4 Bypass Illa picados ad 114 9 4 DeNolse VWINGOW Par
7. Finally atthe top of the main window is the mainTime Display Sample Rate and Dither indicators Page 34 Time Display area The LOCK indicator is green when ART s audio engine is locked to a valid clock reference The DITHER indicator is green when redithering on output is enabled In both instances green is good 3 3 Starting a Project Opening Files ART opens with a blank project window You can also create a new Project by selecting File gt New Project from the menu bar A blank default Project opens Y NOTE ART supports one Project window open at any time 3 3 1 Opening Projects You can open an existing ART Project by selecting File gt Open Project from the menu bar This brings up a standard Mac OS browser dialog for finding and selecting the desired Project file Confirm your selection with Choose and the Project opens into a new Project window BOBO OA ee a SAM Greatest Hits vir0 Project O ears Q gt DEVICES gt ES Audio gt E EDLs Po Preview SHARED J DDF Folder Y Lists Y PLACES A NoNOISE folder e J Current Builds LJ SAM Great r0 Project jamessan He Applications a Desktop y Documents E Mame SAM Greatest vay Pictures Hits w1r0 Project FH Movies Kind Project Files fa Music Size 4 KB on disk aia Created Today at 14 59 e Utilities PM SEARCH FOR Modified Today at 1 03 PM 7 Last opened More info II II II i II eo
8. In such a situation any kind of traditional equalization or sophisticated editing methods is usually time consuming and causes discontinuities or at least audible changes in level and timbre ofthe desired signal and ambience You will say no way and close the project Thatwas yesterday Today Sonic Studio is proud to unveil the RepairTool LE our unique solution In such hopeless situations RepairTool LE successfully rescues problematic live recordings from audio disturbances and unwanted noises You will be amazed by the high sound quality of the repaired sections and how quickly it works Note that all spectral modifications in RepairTool LE are performed in the linear phase domain Therefore there is no unwanted sound coloration of the remaining material 11 1 RepairTool LE Overview RepairTool LE for AudioRepair Toolkit is the go to tool when all traditional editing tricks and processing methods have failed It allows localization identification and precise removal of unwanted audio events mostly without audibly affecting the audio material we want to keep Spectral components of the disturbing sound in the selected area are lowered below the hearing threshold and thus making them inaudible Unlike editing methods in the time domain RepairTool LE does not make gaps in the wave file when eradicating a disturbing sound event it just removes unwanted spectral components keeping the signal of interest not affected Rather its an exact
9. NoNOISE replaces the repaired audio with the original samples containing the defect Page 110 Chapter 9 Broadband DeNoise AOC DeNoise Thresh ATEN Broadband DeNoise BBDN is the highest fidelity single ended noise reducer available today and can rescue both old and new recordings alike Broadband noise whether white pink or brown in spectrum is one of the most common forms of audio degradation Noise can be introduced from any of anumber of sources including the modulation and asperity noise inherent in analog tape recording and Johnson or thermal noise from microphones preamps and other analog signal processing equipment BBDN is a single ended broadband noise reducer that unlike less refined products can suppress or eliminate broadband noise with little or no audible artifacts even at extreme settings BBDN is an updated and improved version of the legendary restoration technology from Sonic Solutions The Grammy award winning NoNOISE technology set the standard by which all other restoration toolsets are judged And because BBDN is built on the Sonic Studio Engine you can be certain that the processing ts double precision resulting in less quantization noise no timbral shifts and dramatically lower distortion and artifacts 9 1 Overview BBDN is designed to address audio contamination from broadband or wide band noise sources Whether the problems are electrical or acoustical BBDN can vastly improve perceived
10. REDIGO RP o UU o bee Ene dua inetat ot eatiwk a ttaeaeidanameuass 54 4 3 e o o sandeean oeaeetcee sana dedeensa cee satee tae 55 4 3 1 Gain AGUS tei Gis iii ida iiedds 55 4 4 Gan Overlay Mode is 57 Page 3 4 5 Mita ao A E ou A 59 Chapter 5 Recording AUdIO soria 61 5 1 Four Steps to Recording varices 61 1 Opena New FrToOjeCi errena Aa an 61 2 Set Recording Farante S eaaa ea e aaa ai e 61 3 Record Enable Panels said a a A EAA 61 4 Start your reco ordiNg di EA E Ree eee ed 61 5 2 Audio Recording Sisi 62 5 2 1 Selec tng extemal INPUTS lisis rd 62 5 2 2 New SOUNnGTIIG Paramete S csscudisalomistica cinta diras 64 5 2 3 Track arming and enabling recording ccc cece cece eee eee eee eeeeeeeeeeaeeseneeas 66 5 2 4 INIlatinG a recording oukvice ache denvsos ei tears ia 66 5 2 6 EOI IASC OF O ita abetiata 67 5 3 Freser a Recording DOTON ia 68 Chapter 6 Meters oia di 69 6 1 Mieters VINO Wir i a EE OE AEL A S EEE 69 Chapter 7 Monus sims rata 71 7 1 TACAR Ilan oda 71 7 1 1 ADOUt A dioRepair TOD umi ias 71 Za l2 Cee Ce Ses padeciendo bossa 71 7 1 3 SEAI SS EE EEE a E EAE E E E ETA VE OTEA E E E 71 7 1 4 Hide A dioRepair TOO Tui iia 71 y Hide ONE Siria t 72 7 1 6 SHOW Alai a E A A AAA ri 12 Ta WT CUIFAUcCIORepal Solita 72 7 2 TRG FIE MENMU inana a odia 72 7 2 1 New PTOJeC beere a Meare eeu oda E aaa 73 E E ODE Project oral 73 7 2 4 OPenoouna Eleanor 73 VEAS AOS VWI COW tas pr NORIA O A tie 73 7 2 6 Close ProjeCi eriep es
11. Solo Track O Monitor Input Monitor Output t Record Arm R Record Around Selection Center i Play from Selection p Play to End of Selection E Move Playhead Y Hide Playhead When Stopped CP The Play menu 7 5 1 Play From Selection This command starts playback from the beginning of a selected region If no region is selected then playback starts at the Edit Point If the Edit Point is not available playback commences at the start of the first segment in the Project This command is equivalent to tapping the Spacebar on the keyboard The Play From Selection command will continue to play until either the Spacebar is hit again or the Playhead reaches midnight 23 59 59 74 Page 83 7 5 2 Play Selection This command plays a selected region or segments Whereas the Play From Selection command mentioned in section 7 4 1 above will continue to play until stopped the play Selection command stops automatically at the end of the selection 7 5 3 Play From Playhead In normal operation when you tap the Spacebar to start playback the Playhead will jump to the Edit Point or the start of the file if there is no Edit Point and begin playback The Play From Playhead command emulates a tape transport with playback instead starting at the current Playhead location 7 5 4 Repeat Play lf there is a selected region the Repeat Play command will repeatedly play the region until stopped If there is not a selected regio
12. e trim the length of a file or cut out unwanted sections See Section 3 8 and Chapter 4 e capture files processed with Gain EQ or Normalization See Sections 4 4 Chapter 10 and Section 72 15 e combine two sides of a record into one long file for the ultimate album listening experience Note The examples above are non destructive That means that no changes are made to the original file Because these changes are not applied to the recorded file a new file must be rendered or created using export wia Learn About Dither Make sure to set dither to 24 bits for exporting files The Dither indicator in the top center section of the Project window shows green when dither on output is enabled and grey when dither is disabled To change dither control click on the Dither label and a contextual menu appears allowing dither to be enabled disabled and change bit depth Page 21 2 3 1 How To Export Your Recording as Separate Files for Each Song Learn ART supports sample rate conversion and 32 bit CAF file support when using the ExportTracks or Export Sound File commands This feature creates multiple files at the same time based on the sample rate and bit depth you select Supports 44 24 and 44 16 and 48 24 A new folder is created for each conversion at the Path you define from Set Folder and titled 44 24 44 16 and 48 24 Since this action does multiple exports at the same
13. left click at the bottom black end of the spectrogram where the mouse cursor changes to the play cursor or while holding ALI key just click on any position in the spectrogram A left click on the Stop button stops the audio playback After stopping the play cursor returns to its initial position To remove an unwanted disturbance select an area around it and set up the desired parameters in the ReSynthesis Parameter Group These are Interpolation Gain and Repair see User Interface overview below To remove clicks e you will usually use the hor interpolation type to replace the selected area containing respective click with a new signal re synthesized from the material surrounding the click along the time lime The interpolation types left or right can be used if one side of the click is not suitable for proper interpolation e g it includes strong percussive beats However the results in case of one side interpolation are less accurate To perform the interpolation in a selected area hit the Process button or select Process from the drop down menu After processing has been done you can immediately listen to the result by resetting the play cursor and hitting Play button The lower screen shot from the previous page shows the audio piece from the upper screen shot after click removal Page 131 If you are not satisfied with the result you may undo the interpolation with the button or by pressing ctrl z The maximal number
14. 1 Introduction Although versatile in many ways not every function that ART offers is the best way of structuring your recording and restoration workflow Some solutions are better than others either for quality reasons or other reasons beyond the scope of this manual In this appendix we d like to provide some guidelines in order to get the best out your software and establish a smooth and efficient production flow A1 2 Source Material Considerations ART handles a variety of source file formats and sample rates It is therefore very tempting to grab what you need and add it to your Project But that may not be the best solution Important Note lts a good practice to prepare all source material needed before moving forward with sequencing editing and finishing By organizing your source material and storing all relevant data in the same directory your projects will be highly portable easy to archive and you ll avoid situations where files have gone missing from a job because they were not included in the Project subfolder See the figure below as an example _ ART Project Anatomy 4 items 150 02 GB available J Audio files contains original audio files for this project 9 Exports contains all Exports for this project CT NoNOISE contains soundfiles and NoNOISE Estimates Projects contains all Project files for this project The Anatomy Of An ART Project A few words about dither If you make any
15. 7 26 Select Segments from Selection This command selects all segments that are part of the selected region including the segments in which the start and end of the selection is located 7 8 The View Menu Select Next Segment gt Select Previous Segment oom In 1 foom Out T Zoom In around Playhead Xd Zoom Out around Playhead Xt foom To Previous a6 P foom around Playhead Zoom around Selection Center p Zoom To Selection Start Zoom To Selection End Zoom To Selection 6 G foom To Entire Project a6E foom To Entire Track The View menu Page 93 7 8 1 Move Forward Backwards Select Next Previous Segment These contextual commands change dynamically depending on whether a segment is selected or not When a segment is not selected Move Forward Backwards move the contents of the Panel forward and backward along the time line The zoom factor or magnification stays the same When one or more segments are selected these commands change to enable you to select the next segment If one segment is selected the meaning and function of the commands are clear but if more than one segment is selected then Select Next will select the segment after the last currently selected segment and Select Previous will select the segment just before the first currently selected 7 8 2 Zoom In Out The zoom commands change the zoom factor or magnification expanding or reducing the time scale by 90 with 10 overlap from t
16. E OA NE AAE A 88 7 6 8 ANJO BICK TO Mark S usada rain 88 Page 6 7 6 9 Edited Black To IMIAEKS usina tt tata da deal 39 7 6 10 Edited Black to Start Marks ecos a dust 89 7 6 11 The Mark Contextual MENU o as call 89 7 7 1 SE SRP ada A E A AA Ar EEE EEE EE 90 F272 Set SAE WAEN TER scarica aon ad Ge ean eae ee E 91 TA LOCK SMP S from Selec TOM h25 cree taneentegy E O ada 91 7 7 4 Unlock SRPS Trom Sele HOM acted ta bic ase 91 7 7 5 Clear Selected iS mass ira tania 91 Zer We Drop Edit Font at PlayRead cias dio ted ea 91 7 7 6 EOI FOIE OF lay Nea dnd ci n 91 7 7 7 MOVE EGI ROINNT O anita ddr E E 91 7 7 8 Edit POMC TO NEXE FEIK srmcciorsaica aimara EN aI ERNI 92 7 7 9 Select Start tO Edit POINT eener a E OEE eae 92 LED AZ select Edit Pot TOE tai i 92 7 7 11 Selection rom Selected SEGIN SMES ii 92 7 7 12 Select Segmento ENG uso da ino 92 7 14 29 Select SEGMENT t SlarCiniwerteasieesdchuiuiosdalieaeviunattnyracabuauasaghunnndeyaeaadyean edule 93 7 7 26 select Segments from Select midis pose ai eT isan 93 78 TAG VIG W Men Ulster denia 93 7 8 1 Move Forward Backwards Select Next Previous Segment 000 ee 94 7 8 2 ZOOM MOUT educvaswictterhhustslatiuwetduduvch tie vertalteneeiiidertelsesatluiiesanelsisontadedudelnc s win 94 7 8 3 Zoom In Around In Out POW scs2 ck rss brida dida 94 7 8 4 ZOOM IA Out around Edit PON aside dd taci n 94 7 8 5 Zoom N OUt around Playhead sucinta ii ads 94 7 8 6 ZOOM CO PrevIQUS NO XT pira 94
17. Edit Segment Name lr o e e da do 80 Editinig Auto TOO OVeSrFAde siii eiii oled s 80 Auto Space All SEQGMeNntS TrackS ccc cece cence ence e eee n cnet ences tenn eeeeeneeeeans 80 INeEDLIMenN Unison 81 Page 5 7 4 1 Show Hide Text VIEW asus di arias doit 81 7 4 2 Show Hide Gal OVera y ns sanidad 81 7 4 4 Create Gal No des l E aah tan eld decane ere E ELR 82 7 4 5 Select Gain NOQG S ninia ido na 82 7 4 6 NETOS ei abit ira 82 7 4 7 Ta o lo es Eee en rea emer et 82 7 4 8 ShowW Fude RETO Viso AN ts 82 7 4 9 Standara Large Track SIZE AO 82 7 5 Lie Play IM e PUNO o ae 83 7 5 1 Play From Selectos da 83 7 5 2 PAS 6S CLIO ae aA A 34 7 5 3 Play FrorniPa ye ad sia da 84 7 5 4 Repeat IV e e 34 7 0 5 UO lata aria ota 84 7 5 6 METS TLIC I pees ae OT 84 7 5 8 IWIORIFON ao 0 AAA a A ta dueee daadiabateensaeceapareenemeesamanees 34 7 5 9 Monitor OUtpuUtL id id dia 84 7 5 10 RECO bodas 84 7 5 12 Around Selection C ento reee E 85 75 13 Pay ronm Selecionar cra 85 7 5 14 Play to End Of Select etaa it ata alla 85 7 5 15 MOSR NEA estaras a rs Re aNaees 36 JaN O Hide Playhead When Stopped0Oicccccccccccnncccccncnn cnn A rr 87 7 6 TR MarK Menta dais 87 7 6 1 Wrack Start Mark setmaniera a a a e a 87 7 6 2 WACKEN MIK iaer toa ee S 87 7 6 3 Delete Mat E ayes EE E A E E ae E E AE D a aa 87 7 6 4 Lock Marks Trom Selecon id ai 88 7 6 5 Unlock Marks from Selector eeka a N E Aa 88 7 6 6 LOCK All Marks E a a E 88 7 0 7 URNTOCKR A Ma ts eta a
18. Hz Page 119 EO Transfer Function 3rd order parametric with f of 1000 Hz EO Transfer Function 4th order parametric with f of 1000 Hz The high and low shelves are also three parameter filters with Resonant Frequency gain and order The family of curves below include 1st through 4th order The 4th order response is practically vertical in the transition region Page 120 EO Transfer Function High shelf with f of 1000 Hz The high and low pass filters also have three parameters However in this case stopband ripple labeled Stop has taken the place of gain As with the shelving filter above the family of curves below include 1st through 4th order EO Transfer Function High pass with f of 1000 Hz Stopband ripple describes the amount of amplitude variation or ripple in a filter s out of band response Indirectly it describes two more important parameters One is out of band suppression Page 121 or how much leakage of unwanted signal you receive and the other is phase shift and group delay The stopband ripple parameter provides a range of 12 to 108 At the 12 setting only 12 dB of loss will occur out of band no much for a filter of this type However because the stopband ripple value is so low the phase response and resultant temporal response of the filter will be excellent At the other extreme of its range stopband ripple will be 108 dB down from the unity
19. Input Set Up Like selecting the correct inputs to record from on your receiver or pre amp you need to set the inputs in the ART interface to receive sound input from the selected Device in Audio MID Set Up Click on the Input selector in the left margin of ART and choose the correct channel forTrack one and repeat for Track two Selecting Line inputs in Amarra Note that depending on your device the selection in this list will vary 2 2 3 Recording Once the Recording Preferences and inputs are set you can start the recording by clicking on the Record Button on the project toolbar Recording button Click to start recording Page 19 If you have not armed enabled tracks for record you will be warned You will also be warned to set the recording information if not already set The recording will then start and the Tracks window will turn pink in color Amarra Vinyl Project 00 00 05 37 ww Man STOP het DeClick DeCrackle DeNoise Expurt zor occ oS oom FS fpa CD Frames e ART in record showing level in the Meters window Note waveforms do not draw during recording but recording confidence is ensured via the meters in ART showing activity When you hit the Stop button the waveforms will be built and the recording opened in Wave View Track Bar i pi n lain English ait Top guf 10 Waveform dle View ET Corner of a Project window showing the Track Bar and top Panel
20. Linear fades the default are the most broadly applicable choice Section 4 1 2 briefly discusses the five curve shape options 7 9 5 5 Import Fade e Fade In Fade Out On drag and drop applies the selected Fade Shape to each file as an In Out Fade This setting abuts soundfiles together and is recommended for use when Importing SDII files e Crosstade On drag and drop applies the selected Fade Shape to each file as a crossfade Page 102 7 9 5 6 Setting Preferences EDL Tab ADO Preferences Editing Tools View Y Show Track Bar E Show Segment Names Zoom Factor 30 Wavetorms Create Waveforms Manually Foreground Waveforms Background Waveforms Display Auto Tools ES AutoScale On Scale to View Ey Show Track Scale in dE Scroll Mouse Down Playing Auto Tools MM AutoScroll Playhead Check For AutoScroll Track Updates The Preference window showing the EDL tab 1 9 5 7 View The View section has the following options e Show Track Bar When checked an additional layer of visual feedback is enabled in the Project This alternate view provides a graphical approach to evaluating and manipulating your Track metadata Existing metadata is displayed from an object Page 103 7 9 5 8 oriented perspective whereby each CD Track that will result from your current Track placement is shown in grey while the pause between tracks is shown in blue Section 3 9 5 above discusses
21. N N O MO Pel O O A OI SSP 242 eo Model 304 10014 Aggregate Device i 2 inf 2 out Built in Output Built in Line Input Configure Speakers Audio MIDI Set up showing Aggregate Device settings for recording to and playing back from your Mac at 96 kHz and 24 bits Important Note For the aggregate device to work correctly the sample rates of the combined devices in the aggregate device must be set to the same sample rate In this case that is 96 kHz You are now set up to record using the Built in feature on your Mac Please skip to section 2 2 2 For more information on aggregate device settings see the Help Menu in Audio MIDI Setup 2 2 1 2 Using an External Digital To Analog Converter ADC You may choose to purchase an external digital to analog converter ADC This gives you the ability to digitize the output of your turntable pre amp and record into ART with the potential for higher quality recordings than using the built in ADC in your Mac Many external ADCs also provide the option to record your Vinyl at sample rates up to 192 kHz and 24 bits of depth The signal flow for this set up is Turntable gt Pre amp Phono Stage gt Analog to Digital Converter gt USB FireWire or Thunderbolt port on your Mac Please refer to the User Manual of your ADC for driver installation and instruction for proper connection to your Mac 2 2 2 Defining A Recording Path In ART In order to reco
22. Overlay When off or disabled the Gain turns grey Note that while in Gain Overlay Mode all normal editing functions are disabled and only the gain nodes can be manipulated Reverting to normal Editing can only be achieved by selecting the Hide Gain Overlay command 4 5 Project Sample Rate To the left of a Project s time line a drop down menu is located for selection of the Project default sample rate This menu has a simple function to set the sample rate when making address calculations on the time line Since under the hood ART uses samples per second as the counting method for all time code time line and address calculations sample rate becomes the basis on which all the above calculations are made ART converts all thirteen of the alternate non samples time standard choices discussed in section 3 7 1 to samples when constructing a Project Page 59 Note that the Project default sample rate has nothing to do with the sample rate of any audio interface used nor does it impact the clocking of your system It is only for locating segments on a Project s time line Page 60 Chapter 5 AGCO ding Audio In addition to assembling audio from existing sound files ART offers the functionality of recording audio from external audio sources Supported file formats for recording are AIFF and broadcast WAV or BWF Sample rate and resolution are limited by the capabilities of the available Core Audio hardware o
23. Points Set SRP Set SRP with Text Clear Selected SRPs Drop Edit Point Edit Point to Playhead Move Edit Point to Next Track Mark Move Edit Point to Previous Track Mark Move Edit Point to Next Segment Edit Point command D delete backspace option delete backspace control G control option G plus or minus or numeric keypad command backslash Y command semicolon F12 control semicolon backslash option command backslash shift F6 shift command F6 shift F5 Move Edit Point to Previous Segment Edit Pointshift command F5 Move Edit Point To In Out Point Move Edit Point to Next SRP Move Edit Point to Previous SRP Select Start to Edit Point Select Edit Point to End Select Segments to End Select Segments To Start Select between SRPs Change Crossfade duration Viewing Shortcuts Show Text View Show Gain Overlay Refresh Standard Track Size Large Track Size Move Forward Move Forward Backward Move Backward Zoom In Zoom Out Zoom In Around In Point shift F7 shift F10 shift command F10 option hyphen option equals shift command right arrow shift command left arrow double click at bottom of waveform display shift click drag with Crossfade Tool option T option G command R option 5 option 6 right arrow command option control click drag on waveform left arrow down arrow up arrow com
24. To Selection DeClick Pitched DeClick General DeCrackle Light DeCrackle Medium DeCrackle Heavy Create Track Start Create Track End Contextual Menu showing restoration options On selection of a repair tool ART replaces the compromised audio with repaired samples Don t worry about selecting on zero crossing boundaries the software s intelligence will provide a seamless transition However do be aware that very low frequency artifacts may be present after a click and they will not be obviously visible in the waveform If you find that the DeClicker leaves behind some low frequency noise after a click has been removed then Restore the click back to its original state then select more time after the visual end of the click and repair again The DeCrackler is able to intelligently identify distortion on a very small time scale Don t be surprised to find micro repairs within your time region selection 8 2 3 5 Restoring Clicks First make sure the NoNoise ll gt Show Interpolations option is checked Any existing interpolation or repair will appear marked with a horizontal red line the Restore Bar over the samples that have been altered 1 To remove an existing repair zoom in on the waveform and locate the red Restore Bar 2 Click drag in the Panel to select a region that contains only the Restore Bar you wish to undo 3 From the NoNOISE menu choose Restore Click Page 109
25. a master fader section of a typical mixing desk and features a number of elements Most important at right is a Master fader The Master Fader controls output amplitude across all output buses lt has a amplitude scale at right with three triangular hot spots at left for rapid gain setting Clicking on a hot spots instantly moves the fader to the corresponding preset position Hot spot values are not adjustable Below the fader is a gain call out field where the gain setting of the fader can be manually entered as a numerical value To alter the master fader s position a new value can be manually Page 69 entered in this field and after confirming the new value with the Enter key the fader will move to the corresponding position Also at the bottom a dim button is found Clicking the dim button immediately moves the fader to the predefined position of 20 dB returning to it s original position when the dim button is disengaged When the dim button is engaged It s label color changes to red to indicate that dim mode is active To the left ofthe Master fader is a section from which the window gets its name the bus meters Above each meter is a field showing the numerical value of the current instantaneous amplitude When an overload occurs these boxes turn red To clear the overload display click on the indicator and the red surround will disappear Finally at the top left of the Master section are two more buttons Clic
26. also be used to create a single gain node with the Create Gain Nodes command For more detailed information on working with the Gain Overlay see section 4 5 above 7 4 5 Select Gain Nodes This command selects all Gain Nodes contained within the currently selected segment s or region Selected Gain Nodes can then be subject to simultaneous changes such as gain setting lock state or deletion For more information on working with Gain Overlay mode see section 4 4 above 7 4 6 Refresh The Refresh command redraws the current waveform display for the selected Panel This command is especially useful after rebuilding the waveform files of one or more segments to force the waveform display to display the updated information 7 4 7 Take FFT An FFT or Fast Fourier Transform analysis is performed on a user specified sample of noise from the material to be processed The FFT window is opened 7 4 8 Show Hide FFT View Toggles opening and closing the FFT window 7 4 9 Standard Large Track Size The Standard and Large Track Size commands resize the selected Panel s to standard or large vertical size Large sized Panels are two times as tall as standard size offering a better display with larger display or desktop settings A Large Panel also lists more segments in Text Mode Page 82 7 5 The Play Menu From Selection Space Selection Space From Playhead Space Repeat Play Space E z ii h Stop A Mute Track AM
27. amp Out Points 78 Crossfades 44 Delete Selection 78 deleting 44 Drag Insert amp Ripple 54 Drag Overlay 54 Drag Replace 54 drag amp drop 52 Edit Point placing amp moving 91 Fade Tool 42 ReSequence 52 selecting Regions 40 selecting Segments 41 Editing Auto Tools 101 Editing Auto Tool Override 80 Editing Tools preferences 100 edit event 49 51 Edit menu 76 Page 153 Edit Points 57 Move Edit Point to submenu 91 moving 91 placing 91 Edit Point to Next Peak 92 Edit Point to Playhead 91 Edit Recording 67 Edit Segment Name 80 Edit with Audio 101 EDL 67 dual EDL mode 59 EDL menu 81 EDL preferences 103 Estimate 112 113 114 exponential Fades 51 exporting audio Edit after Export 97 Exporting Audio Selections Segments 45 EType 108 Fades 43 edit events 49 51 shape changing 50 gain laws 51 Fade Tool 42 49 101 changing parameters 49 changing the shape 50 changing the type 51 File menu 72 file systems 142 Gain 55 135 Absolute 56 changing multiple segments 57 Normalize 56 Relative 56 Segment Gain 79 Gain Adjustment 55 Page 154 Gain Nodes creating 82 locking amp unlocking 59 selecting 82 Gain Overlay 57 96 98 Bypass Activate 81 Show Hide 81 Gain Overlay Mode 57 General practice 142 Help 16 105 HH MM SS FF 39 Hide Playhead When Stopped 87 horizontal 128 131 133 136 138 hot spots 69 Import 5 4 EDL 75 Importing sound file types 32 73 inserting PO Marks automa
28. compile a new program from various sources _ NOTE Before restoration of compressed files they must be converted to uncom pressed PCM as AIFF or WAV BWE Use the Export command to create the AIFF WAV files for your work Using the NoNOISE toolset you can analyze the audio using FFT and Noise Estimates With the Sonic EQ and NoNOISE restoration you can perfect the audio When you are satisfied that your Project is acceptable you can create separate tracks as AIFF or WAV BWF files using the Export feature Page 32 3 2 Project Layout Ow LindaRonstadt NRO_ 96k Side PATH Recording NAME Untitled Recording Detalla L 00 08 14 08 pure TAKE 1 RECORD PREF i rm pame 00 10 57 05 y Details Mame Track 00 12 35 06 e 00 04 20 28 LARK oa Il Denicise Restoration tools j l Transport Controls Sonic EO i iid Timeline EDL Sample Rate i l 1 l 1 Track Bar 00 05 00 00 00 10 00 00 Playhead Top Panel Left Channel SE Don t Stand a Ghost of a Cha Don t Stand a Ghost of a Cha what ll Do a Y Se 1 60 Ss oo Bottom Pane ui Right Channel N 1 0 Bofs E fps NDF Main components of a Project window In ART all tasks are performed in or via a Project The bottom half of a new Project shows two empty Panels containers for stereo sound files and their accompanying waveform displays or text lists The upper Panel shows the left channel whil
29. creates a noise Estimate A Mac Finder window opens and asks where to save the Estimate file We suggest saving the Estimate within the Project folder for this record 9 3 2 Open Est 2 2 The Open button displays a Mac Open File dialog allowing you to select previously saved Estimate files Choose the Estimate file you want to open and click OK 9 3 3 NoNoise 3 3 The NoNoise button toggles the BBDN processing to a solo mode where only the noise being removed is heard Red solo mode Soloing just the noise is useful for adjusting DeNoise parameters 9 3 4 Bypass 4 3 The NoNoise button toggles the BBDN processing to a solo mode where only the noise being removed is heard Red solo mode Soloing just the noise is useful for adjusting DeNoise parameters 9 4 DeNoise Window Parameters 9 4 1 Thresh Threshold 5 Together with the 6 Atten Attenuation parameter the Threshold parameter provides the basic control over how aggressively the process Is applied Page 114 As Threshold is raised more of the signal at all frequencies is processed At extremely high settings a distinctive watery aliasing may be heard in the resulting audio If the Threshold is set too low little or no noise reduction is obtained The Threshold can be thought of as the fine line between noise and music globally raising or lowering it relative to Its original position The default Threshold is arbitrary Threshold and Attenuation setti
30. dither on output is enabled and grey when dither is disabled To change dither control click on the Dither label and a contextual menu appears allowing dither to be enabled disabled and change bit depth Y Enable Dither Disable Dither lo 20 Page 99 7 9 5 The Preferences Window Some of the functions and commands within ART can be changed to adhere to your preferred values or behavior All of these preferences can be adjusted in the Windows gt Preference Window 7 9 5 1 Setting Preferences Editing Tools Tab APPLE Preferences a Ese Editing Auto Tools EDL j Fade Tool E Snap to Edit Point E Snap to Zone uto Spacing Duration 0 seconds 2 seconds 1 second 3 seconds Analog Black Threshold 46 00 dE below O dBfs Edit with Audio Ku Selection Reference Points Gain Overlay Fade Shape Import Fade a Check For u Updates The Preference window showing the Editing Tools tab Page 100 7 9 5 2 Editing Auto Tools The Editing Auto Tools section has the following options e Fade lool When checked the Fade Tool will be enabled for editing lo learn more about the Fade Tool and Its properties see section 3 8 1 and 4 1 for a full description Snap to Edit Point ON When checked dragging a segment near the position of the Edit Point will cause the segment to auto snap This feature is really only applicable when dragging audio into a Project from the Finder or another
31. fidelity and provide a quiet more uniform noise floor to your recordings without objectionable artifacts or any shift in timbre or room tone BBDN is effective on these and other types of noise e Modulation and asperity noise on analog magnetic recordings e Obtrusive grain induced noise in optical motion picture soundtracks e Johnson Nyquist noise in analog signal chains e Acoustical noises from engines HVAC units wind water insects amp other sources Page 111 e Colorless suppression of excessive reverberation Noise removal is easy 1 Define small sample of noise generally 1 2 second is good Set ART to play a second or two before the noise by clicking once and setting the Edit Point before the noise sample 2 Play the file and press the Take Est button during the section you defined as noise Save the estimate that appears by clicking the Save Est button 3 Adjust the Thresh Threshold and Atten Attenuation or reduction sliders to taste Use the NoNoise In Out button to compare processed vs original 4 You will need to export or bounce your files to apply BBDN processing to a finished file Note that BBDN is a non destructive process It does not alter your original files LEARN The operation of the Broadband DeNoise is a subjective process there is no single correct setting only your hearing can decide In general though if too much program is present in the suppressed signal then you are
32. files involved in your jobs on direct attached local volumes internal ATA FireWire Thunderbolt FC SATA or SAS are acceptable USB attached storage peripherals of any kind should never be used Also disks must have more than enough free space to store record and playback all of your sound files 1 Although you may find it will actually work never use LAN or WAN networked flexible media or optical drives to record or playback sound files due to their excessive latency Always copy files from those storage types to a dedicated local direct attached hard disk or FC networked storage Fibre Channel first then use that disk for all ART work 2 When creating copying or moving files consider the file name and path name Use short path names and employ only alohanumeric characters The only non alohanumeric characters that should be used are the hyphen and underscore _ characters Other characters such as 1 8 L 1 land will very likely cause problems in your work Permissions Check that you have read and write permissions for the entire application package Holding down the control key and highlighting the application will spawn a contextual menu with the choice to Show Package Contents Showing the package contents allows you to set yourself as read write the group should be admin also with read write privileges You should also boot from the Apple supplied install disc that came with
33. in Mac OS X Clicking on the ART icon in your Dock returns ART to view Page 71 7 1 5 Hide Others Use the Hide Others menu item to hide all visible applications except ART allowing you to focus on ART alone Clicking on any icon in the doc will return that application to view 7 1 6 Show All The Show All menu item unhides all running programs in Mac OS X 7 1 7 Quit AudioRepair Toolkit Use the Quit ART menu item to quit ART and close all open documents You will be prompted to save any unsaved work before ART exits 7 2 The File Menu Open P FOIecT H O Open Recent i Open Sound File 30 Close Window W Close Project it dew Save Project a6 5 Save Project As Save As Default Project Activation Open Audio MIDI Setup Audio Device Preferences Extras pe Reveal Sound in Finder Build Waveform 2EB Visit Sonic Studio Website Visit Sonic Support Portal The File menu Page 72 7 2 1 New Project Selecting New Project from the File menu will open a new empty Project Any currently active Projects are unaffected but moved to the background ART allows you to have as many open Projects but when the application runs out of RAM it will begin to use virtual memory significantly slowing down the application 7 2 2 Open Project A Project file lets you save your editing work in a set of files along with most of the editing metadata you added An additional feature of a Project is that y
34. in a selected area can be performed in one of two ways First from the pop up menu that opens after control clicking in the spectrogram or by using shortcuts see section 3 3 10 below The second way is to place your curson in the black horizontal time scale or the vertical frequency scale The cursor changes to a magnifying glass allowing you to zoom in on that axis Holding down the shift key allows you to zoom out Note that re sizing the spectrogram with scroll bars respectively changes the size of the selected area inthe spectrogram but its absolute length in seconds and milliseconds remains unchanged A option clicking inside the spectrum display enters the zoom move mode Moving the mouse up and down zooms out and in Move left or right to scroll With this feature it is possible to click into an area of interest and move the mouse down in order to zoom the spectrogram around the mouse cursor Additional zooming possibilities are provided by key equivalent See section 3 3 10 below for more information 11 3 4 5 Playback The whole loaded audio material or part of it can be played back at any time by clicking in the spectrogram to position the white play cursor at the desired position Clicking the Play button or tapping the space bar start playback After playback has stopped the play cursor returns to its initial start position Additional playback possibilities are provided by key equivalent See section 3 3 10 below for more i
35. information in Audio I O Preferences are not dynamically updated if anything in Audio MIDI Setup are changed while the Audio I O Preferences window is open To make sure that the Audio I O Preferences window accurately reflects the current setting of Audio MIDI Setup press the Re Scan I O button This updates the Audio I O Preferences and re loads the current settings from Audio MIDI Setup To Page 63 open Audio MIDI Setup from within ART click the Audio MIDI Setup button in the Audio I O Preferences window Note that any new settings in the Audio I O Preferences window come into effect immediately However only after saving the settings with the save button will the new settings be stored as defaults used for subsequent ART sessions 5 2 2 New Soundfile Parameters You must specify where recorded files will be stored and in what format and resolution the recordings will be made To set the sound file parameters or to change the current parameters select Windows gt New Soundfile Preferences The New Soundfile Parameters window appears AO Recording Preferences Set Folder The New Soundfile Parameters window showing AIFF recording format To select the destination folder for recorded sound files click on Set Folder to open a standard Mac OS browser and select the target destination folder Then click OK to confirm your choices and return to the New Sound file Settings window Note that al
36. of undo steps is limited only by the available computer memory If you reach the memory limit you can clear the undo buffer by hitting the button Once an undo step is performed it can still be re done by hitting the button or ctrl y on the keyboard However after the RepairTool LE has been closed with Accept or Cancel all pending re do steps are no longer accessible To finish your RepairTool LE session hit the Accept button to accept the changes and write them back to the track or hit cancel to exit the process and discard all changes For precise spectrum analysis the numerical display in the middle below the spectrogram is provided lt shows spectrum properties at the current cursor position time frequency and amplitude For precise spectrum analysis the numerical display in the middle below the spectrogram is provided lt shows spectrum properties at the current cursor position time frequency and amplitude Note that as long as you stay within a RepairTool LE session all processing steps are stored in the temporary memory and can be re done However after closing the session with the Accept or Cancel button all intermediate steps get lost All parameters their settings and remaining buttons are precisely described later in the Quick Reference 11 3 4 Quick Reference 1 3 4 1 Spectrogram Setup To adjust the spectrogram color range of the material click the 40 30 dB 50 20 dB 60 10 70 0 dB 80 10 dB 9
37. open Project e Snap lo Zone When the zone snap is checked dragging a segment near the start or end of another segment will cause the segment to auto snap to the red or blue Snap locations See section 4 3 for more information on the drag amp drop auto snap functions AutoSpacing Duration AutoSpace uses a pre selected time value to space the segments Here this value can be selected between 1 and 3 seconds Alternatively AutoSpace can be turned by setting to zero Analog Black Threshold This field shows the default value used by the Mark gt Analog Black to Marks command for the amplitude threshold This value expressed as dB below O dBFS sets the loudness threshold below which a Start of Track or End of Track mark will be placed See section 3 9 4 for more information on automatically placing Track marks 7 9 5 3 Edit with Audio Selection Reference Points When editing this setting causes SRPs to move along with their associated segment They are also included with the audio when It Is copied to the clipboard Gain Overlay When editing this setting causes gain nodes to move along with their associated segment They are also included with the audio when It is copied to the clipboard 7 9 5 4 Fade Shape Default Fade This selector determines the default fade curve used when any new fades are created ART The five curve options are Cosine o Root Cosine Linear Root Linear Exponential Page 101
38. or the Preferences window Upon closing a Project that contains unsaved changes ART will open a dialog asking for changes to be saved discarded or offering to cancel the close window operation Page 73 7 2 6 Close Project This command closes the currently active window Upon closing a Project that contains unsaved changes ART will open a dialog asking for changes to be saved discarded or offering to cancel the close window operation 7 2 7 Save Project This will save the current state of the active Project lt is saved with its current name and path This command will overwrite any previously saved Project file with that name and path 7 2 8 Save Project As This command lets you save a copy of the active Project under a new file name or different path ART allows you to choose either a destination folder or you can navigate to an existing folder If the destination is empty ART simply writes the audio and or metadata files as directed lf however the destination folder is not empty ART alerts you that a potential conflict exists to overwrite files and asks for more direction 7 2 9 Save As Default Project This command save the foreground Project as the default document layout when new Projects are created Since this is a literal save as you should always deploy an empty Project without any sound files opened into the Project before you invoke this command 7 2 10 Activation This command opens the ART Ac
39. since it is intimately associated with the Project 10 1 2 Operation To start the separate Sonic EQ form select the Sonic EQ command from the Windows menu You may open a Projects either before or after you open Sonic EO but you must have a Project open for the pre processor to work The name of the Project will appear in the Title Bar of the Sonic EO window Page 116 AudioRepair Tool Project 1 4 Sonic EQ pre Processor form 10 1 2 1 Open amp Saving Parameters At upper left are the Open Param and Save Param buttons These allow you to save and recall parameters or settings and function by via a standard Mac OS file browser mechanism 10 1 2 2 Track Menu The Track menu switches the user interface for each Panel and its track in the current EDL As you select a Panel in the Project its track number will show in that menu so if you have an 8 Panel track EDL then that menu will show 1 through 8 Notice that the window s Title Bar shows the Track number and EDL number in parenthesis next to the Project name to remind you of which track in which EDL you are controlling 10 1 2 3 Sections Each track can have up to four sections of EO assigned to it Sections appear in the central section of the window Each section has a Type menu that lets you assign a filter topology parametric shelf etc as discussed in section 10 1 2 6 below To the right of the Type menu is a parameter call out field that shows the cur
40. surplus level below 0 dBFS will be entered in the central gain field In other words this function shows Page 56 how much gain can be added before digital clipping will occur The value given is relative to the current gain state so the normalize function is a subset of a relative gain adjustment Though not a gain function a Reverse Polarity check box is available This check box inverts the polarity of the selected segments Segment gain can be applied to multiple segments at once Simply command click on the desired segments in the Text View list then open the Segment Gain window to make a change Changes in Segment Gain will be applied to all selected segments equally as described above This implies that in relative mode the gain changes will retain any relative loudness differences between selected segments In normal use Segment Gain is used on individual segments to make them play seamlessly or as desired Once the entire show has been gain adjusted then all segments can be selected and normalized thus maximizing the amplitude for the whole program 4 4 Gain Overlay Mode As described in section 4 3 1 above the gain of individual segments can be easily changed with the Segment Gain dialog ART offers another global time line oriented approach to changing amplitude Gain Overlay Mode can be used to change level independent of segments and fades and works as a master automated fader Gain Overlay Mode is enabled by cli
41. the NoNOISE metadata the cd and rl files are lost Before you begin remember that tool tips are available at any time to remind you of the function of a particular control To see a tip for any control simply locate your cursor over a control and hover there for a moment A contextually appropriate tool tip will then pop up with a brief description of that control or feature To zoom in on an area of interest first select the portion of the spectrogram by holding the left mouse button and drawing a selection or marquee Then right click to open the popup menu as shown below Finally choose one of the zooming operations see Quick Reference for details The selected area can be moved or re sized as indicated by the mouse cursor lts length in seconds and milliseconds is displayed inside The 1 6 presets can be adjusted Another way to select the visible spectrogram portion is by re sizing and moving the scrollbars beside the display By left clicking and moving the edges of the horizontal or vertical scrollbar the visible spectrogram region can be zoomed in or out and moved When the SHIFT key is also held down zooming is performed symmetrically The length of the displayed signal is indicated in the upper part of the spectrogram The whole loaded audio material or any portion can be replayed at any time by positioning the white play cursor at the desired position and clicking the Play button To place the play cursor
42. the Track Bar show Segment Names When checked segment names will show in the Title Bar When unchecked the Title Bar of segments remains empty Zoom Factor When zooming in or out the display will be zoomed by the factor defined in this field The default 90 means that 90 of the current waveform view will be zoomed with 10 overlap for visual context This preference only applies to selections Create Waveforms Manually When checked ART does not create waveforms automatically when a file is added to an EDL Waveforms for these files can be created by selecting the file in the EDL then File gt Build Waveforms BackgroundWavetorms When checked waveforms will be generated in the background upon opening sound files from other DAWs When unchecked no graphical wavetorm files will be produced automatically The File gt Build Waveform command will manually generate waveform files Remove Waveforms on Close When checked waveform metadata will be deleted when a Project is closed Display Auto Tools The Display Auto Tools has the following options 7 9 5 9 AutoScale On When enabled the display is scaled vertically so that the maximum peak within the entire Panel becomes full scale This preference provides overall amplitude scaling while maintaining visual context between loud and soft passages scale to View When enabled the display is scaled vertically so that the maximum peak within the currently visible
43. the length of your recording then initiate the recording When the recording is started it will commence at the start of the selected region and stop automatically at the end of the selected region This is useful for recording one side of an album Playback commences at the start of the selection ART will drop into recording punching out at the next SRP This repeats itself until the end of the selection is reached Playback stops and the areas marked by SRPs are replaced by newly created sound files If recording was still active when the end of the selection was reached an uneven number of SRPs was included in the selection recording will stop at the end of the selection as well _ Note that for this method of timed recording ART only uses the SRPs in the top Y Panel being played and recorded If SRPs are set in any other Panel that is armed for recording they will be ignored and recording in those Panels will take place at the same position as in the top Panel being played After recording the SRPs will be erased and in their place default crossfades will connect the newly recorded segments to any existing audio segments Page 68 A Meters 6 1 Meters Window The Meters window provides a Master section the final output control for your Project The Master section window can be opened by selecting the Windows gt Meters command A O Meters Ss The Master section The Master section resembles
44. the top Panel ART will parse the file and open the right channel for you into the bottom Panel By holding down the command key before dropping sound files ART will also automatically create Track metadata for all the files a Note that command dropping only applies to drag and drop not to the Open Sound Y File command Later in this chapter section 3 9 discusses Track metadata in more detail 3 4 Waveforms A waveform display provides visual reinforcement of audible cues when editing Normally the audio file types that ART opens contain metadata such as sample rate and related information but no information on visualization Waveform shape information therefore has to be generated by ART itself The application generates individual waveform files one for each channel in order to display high resolution waveforms in the Panels at any zoom level The generation of waveform files is performed in the background so normal operation is not interrupted Page 36 Wh Consolidated aif Display of a sound file without waveform metadata lf waveform files are absent from one or more audio files included in the Project ART will automatically start generating those files in the background Waveform files identified by their r extension are placed in the same folder as the audio files and can be read by any other Sonic Studio product WN_Consolidated aif The building of waveform metadata in progress Once the wa
45. your computer Run the Disk Utility application and perform a Repair Permissions pass on your host This is a routine maintenance task that along with DiskWarrior should be run about once a month 3rd Party Configuration Management As with OS 9 OS 10 employs extensions to the operating system that extend and sometimes complicate your life Mac OS 9 had the Extensions Manager but OS 10 does not ship with such a utility A1 5 Apple s Spotlight Utility We have found that on certain OS X systems Apple s Spotlight can seriously affect not only ART and ART s performance but other audio applications as well We recommend disabling Spotlight as a step to resolving problems related to sound skipping on playback record export and DDP CDR delivery To turn off Spotlight for a specific folder volume or drive e From the Apple menu in the top left corner of your screen select System Preferences Page 143 e In the Personal section select Spotlight then select the Privacy tab e Click the button in the lower left corner and select the folder volume or drive to be excluded e You can also drag the desired item to the list Start by preventing Spotlight from searching these locations Your Home Folder Your internal or external audio drives e Any back up drives connected While disabling Spotlight completely on your Home Folder is an effective step in troubleshooting it may not be the best permanent solution for some user
46. 0 20 dB 11 3 4 2 Spectrogram Re sizing In general the entire RepairTool LE window is re sizable The spectrogram itself can be zoomed in or out It can also be moved independently in both directions horizontally and vertically by re sizing and moving the associated scroll bars With the shift key held down zooming is symmetrical The length of the program portion actually displayed is indicated in the upper part of the spectrogram When clicking tn the scroll bar area but outside the bar the zoom area moves 1 3 display toward the direction clicked This can be useful for tracking the play cursor during playback 11 3 4 3 Marking an Area An area of interest can be click dragging on the spectrogram and drawing a marquee or selection around it The selected area can be moved or resized as indicated by the mouse cursor Its length in seconds and milliseconds is displayed inside The contrasting shading of the area can be controlled by the Bright parameter in the Spectrogram Parameters Page 132 To move a marquee to another location move the cursor to the center of the selection The cursor changes to the Move cursor a four quadrant arrow shape Os 461m Figure 1 13 The Move cursor Once you see the Move cursor you can click drag the marquee around the spectrogram By holding down the shift key before dragging you can constrain movement to only the horizontal or time axis 11 3 4 4 Zooming To A Selected Area Zooming
47. 4 OK Button A 1 Interpolation Hor Ver Gain selects the kind of interpolation to be applied to the selected area Both signal interpolation types Hor and Ver perform a two step operation First they remove bad spectral components from the marked area and subsequently fill this spectral hole with a replacement re synthesized from the surrounding audio material The name of the interpolation type directly says what part of the surrounding material is used for re synthesis process The interpolation type Hor horizontal is most suitable for removing transient disturbances like clicks while Ver vertical is recommended for removing longer tones or harmonics The Gain interpolation type does not remove the original material from the selected area like all the other interpolation types It simply reduces or amplifies original signal components in the selection according to the Gain setting In general the higher the Gain value the more of the original signal is preserved This means that a deep interpolation of any type can be carried out only with a low Gain setting such as 20 dB while Gain or actually threshold above O dB preserves some parts inside the selected area which might be useful material With Gain being too high however even the disturbances may partially remain In such cases lower the Gain until the expected result is achieved The Gain interpolation type see below does not remove the original material from the s
48. 8 Edit Point to Next Peak This command examines the amplitude of all audio samples in the selected region or segments and moves the Edit Point to the location of the maximum sample within the selection If there are more than one equal amplitude maximum samples then the command moves the Edit Point to the location of the first then next maximum samples in turn 7 7 9 Select Start to Edit Point This command selects a region from the first Fade In of the Project to the location of the Edit Point 7 7 12 Select Edit Point to End This command selects a region from location of the Edit Point to the last Fade Out of the Project 7 7 11 Selection from Selected Segments This command selects a region from the first Fade In of the first selected segment to the last Fade Out of the last selected segment 7 7 12 Select Segment to End This command selects all segments from the Edit Point to the last segment in the Project including the segment in which the Edit Point is located If the Edit Point has not been placed the command selects all segments from the first selected segment to the last segment in the Project Page 92 7 7 25 Select Segment to Start This command selects all segments from the first segment in the Project to the Edit Point including the segment in which the Edit Point is located If the Edit Point has not been placed the command selects all segments from the first segment in the Project to the selected segment 7
49. Build Waveform Files originating from a non Sonic Studio product includes sample values but do not contain the amplitude specific metadata needed to draw our very detailed audio time versus amplitude waveforms If you would like to add waveforms while working with your sound files and have unchecked the default Windows gt Preferences gt EDL gt View gt Background Waveforms preference you must select the Build Sound Waveform command First select the parent sound file by clicking on the segment s Title Bar The Title Bar will turn yellow to show that it is selected Then select the File gt Build Sound Waveform command 7 2 16 Visit Sonic Studio Website Selecting Visit Sonic Studio Website from the File menu launches your default web browser and directs you to www sonicstudio com 7 2 17 Visit Support Portal Selecting Visit Support Portal from the File menu launches your default web browser and directs you to http www sonicstudio com sonic support sonic_ portal Page 75 7 3 7 3 1 This command reverts the last command executed For clarification the Undo command also The Edit Menu Undo Select 1 Segment lena Friii td a LAIL Select All Deselect All Delete Selection Clear Selection Create Segment Create Crossfade from In Point Delete Crossfade Move Segments Segment Gain Reverse Polarity Nudge Segment Edit Seqment Name Editing Auto Tool Override Auto Space All Tr
50. C 1340 Mission Street San Francisco CA 94103 1 415 944 7642 ART sonicstudio com NoNOISE the Sonic Studio logo and type are trademarks of Sonic Studio LLC in the United States and other countries All other trademarks trade names service marks and logos referenced herein belong to their respective companies From all of us at Sonic Studio we thank you for your support and encouragement We would also like to thank all our dedicated testers for their assistance in bringing this product to your studio Thank you very much Comments corrections and suggestions regarding this manual are always welcome Please contact us at lt support sonicstudio com gt Sonic_Studio_ART 1 0 UMv01r08 Page 163
51. Fa Oe C1 at aa 38 31 Dz Playback Troll oe Edit OM ui 38 315 5 Playback from PlAV MEAG insistir tds bai it dls 39 3 5 4 Randon dl sb Gee CE O a ren ee ene ane eee eee ee ee eee ee ee 39 Page 2 3 5 5 Tie DISPISYS sespe aa a tad edi de 39 3 6 Navigating the Waveform Display ccsscccscecseeceeecceecseceseesaeecaeeeeeeeeseseaeesaeesaeees 39 3 6 1 STEES A ON 39 3 6 2 ZOOI ON 40 3 7 SCIECHON S i a eco baateont ie Satea cee oneneabanaa 40 S71 SEIECTING sa REGION anaras odas 40 3 7 2 DOES TING canten Sii dc AN 41 3 8 SIMPICEdIUN G areae a a 42 3 8 1 Te Fade OO leia oca 42 3 8 2 Deleting Part Of a Sound Flean a a Aa 44 3 8 3 SPlitting a segment INTO new segments eeror na E E E a EA 45 3 8 4 Manpalating Ir AICS antisocial cid 45 3 9 Track Marks Defining Metadata viscosa sidad 46 3 9 2 MOVING Irack Marks ciere sea a aia rete a E E A 46 3 9 3 REMOVING Track IVISTRS coi ia 46 3 0 4 Inserting rack Marks AUtomaticallY aiisvisrara cris da A ew 47 3 9 5 is A A a ea 47 Chapter 4 Advanced Eqitin nissan 49 4 1 Fade TOO ODUONS insti 49 4 1 1 Chanoing Fade ParaMmeterS id ac 49 4 1 2 Changing the Shape of the Fade soii dd doi ed 50 4 1 3 Changing the Fade Duration sa crrssi ri n ida iii 51 4 1 4 Changing the Fade Ty Oe vs td a ed ago 51 4 2 Dr SC A nn dann naantecuenmanipeateds 52 4 2 1 ReSequenCcindO miis aladas 52 4 2 2 Drag O Vena sata tons o esac eee o O o o E red 54 4 2 3 Drag NSert iS AI A ee a neo 54 4 2 3 Orad
52. RPs within a selected region 7 7 5 Clear Selected SRPs This command removes all SRPs within a selected region whether they are locked or not 7 7 17 Drop Edit Point at Playhead This command moves the Edit Point to the current location of the Playhead and is typically used when the Edit Point to Playhead command discussed tn section 7 7 18 below is disabled unchecked 7 7 6 Edit Point to Playhead This command toggles a mode on or off whereby when playback is stopped the Edit Point jumps to the location of the Playhead 7 7 7 Move Edit Point to This command has a submenu with ten possible choices Edit Point to Playhead ALA FFAA Seed NN Next PQ Mark Dre Edit Point to Next Peak Previous PQ Mark i H FE Next Segment Edit Point FS Previous Segment Edit Point irs In Point EF q e Out Point iF Select Segments To End P Next SRP F10 select segments To start tae Previous SRP HFI The Move Edit Point to submenu Page 91 With this set of choices the Edit Point can be quickly moved to a number of predefined positions The next Track mark o The previous Track mark The next Segment Edit Point the Black Fade or Crossfade The previous Segment Edit Point the previous Black Fade or Crossfade The In Point o The Out Point The next SRP The previous SRP The End of Track the last Fade Out of the Project The Start of Track the first Fade In of the Project 7 7
53. TO USE THE SONIC STUDIO SOFTWARE EVEN IF SONIC STUDIO HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES BECAUSE SOME STATES DO NOT ALLOWTHE EXCLUSION OR LIMITATION OF LIABILITY FOR CONSEQUENTIAL OR INCIDENTAL DAMAGES THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU Notice of Rights 2009 2015 Sonic Studio LLC All rights reserved No part of this document may be reproduced stored in a retrieval system or transmitted in any form or by any means without the prior written permission of the publisher Sonic Studio AudioRepair Toolkit SSE Broadband DeNoise native NoNOISE Manual DeClick II DeClick DeCrackle A Type B Type CType DType EType and the Sonic Studio logo are trademarks of Sonic Studio LLC All other company or product names are either trademarks or registered trademarks of their respective owners Page 10 Chapter 1 troduction Sonic Studio AudioRepair Toolkit ART is an easy to operate task specific tool for recording and repairing of audio on your Apple computer ART is ideal for e Recording any analog or digital audio source e Analysis and removal of audio clicks distortion hum hiss and noise e Restoring your audio files using Sonic s award wining NONOISE restoration technology e Edit your material and define Tracks transitionsr e Export your Tracks with album artist and track info for use in other applications ART allows you to record audition repair edit and mark audio with metadata album
54. acks The Edit menu Undo action appends the last action performed to the menu name ART provide an almost unlimited number of undos The only limiting factor is the amount of RAM which when completely used will force the operating system to use virtual memory This will slow down the operation of ART a single user command dbf Fat HA de D AQ AMG Fl iG A Note that some individual commands actually perform several functions behind the scenes though to you the user it appears to be only one function For that reason you may have to Undo several times to recover a state that was reached with Page 76 7 3 2 Redo action This command reverts the last undo command reinstating the last command performed Additionally for clarification the Undo command in this menu shows the last action undone 7 3 3 Cut The Cutcommand operates on aregion within EditPoints as well as selected regions orsegments removing the defined item from the Project and placing it in ART s Clipboard The Clipboard is a temporary memory location reserved by the operating system for each running application 7 3 4 Copy The Copy command operates on a region within Edit Points as well as selected regions or segments copying the defined item from the Project and placing it in ART s Clipboard Unlike the Cut command the Copy command leaves the defined item intact instead of deleting it after copying the
55. ameters unica dd 114 9 4 1 THrtes AIRES O a ridad ac 114 9 4 2 Atten Attenuation TO l omana dde 115 Chapter 10 Sonic EQ seuss A E 116 10 1 Sonic EO Pre processO Fai aia 116 10 1 1 OVESEN ns dd di as 116 10 1 2 ODEON na a 116 Chapter 11 RepalrTool LE cinta ri 127 11 1 Repal TOO LE OVV e Winston a a 127 11 3 QuickStart Using RepairTool LE ccoocccccconcnoncninonononcconccnnconnconanonanonanronnnennnenanos 128 11 3 1 Mal ESature SS ee beiczcang aunty deans sanauen saan a nesseasee oan semeceaeeaenes esse 128 11 3 2 Iypical AP DICaAtlON Sii E A Pade taeda stan toos 129 Page 8 11 3 3 Getting Started FOr Real luminaria rra de 129 11 3 4 OGIGK Retereno Sueca der ion l cra 132 1 3 4 1 SD SGC LOGI AS SEND A lt P A a beheaded a a aeaaee 132 11 3 5 Jser Interlace Deal Sunicc ccendscscs as 134 11 3 6 ADPlICA CON TIDS a wien ride Guerra an ae ae a 138 11 3 10 ReEDalt oo LE NEY EGUIVal ONES caccais tupac panties oe Aa pe eee 139 Appendix 1 Best Practices amp Maintenance ccoccocccocconcnnccnncancnnronncancnnananonaro 141 A1 1 MA EFO CUCL OM iii 141 A1 2 Source Material ConsideratiONS cocccocccconcconccnnnnnanonanccanncnnnnnnnonnnrnanonanenannrancnnanos 141 A1 4 Hardware Considerations amp Routine Maintenance occoocncncncnoncconcconconnnonanenanenono 142 EEEE SSA 142 Storage OV SON Sr o 142 Permissions 143 3rd Party Configuration Management c ccccccccccccccncnncnncnn rn 143 Appendix 2 Keyboard Shortcuts
56. an EIAJ adapter that both removes DC offset and applies de emphasis Page 125 EO Transfer Function DC reject plus RIAA de emphasis the NoDC DeEmp In the plug in menu two versions are available One is monaural while the other SonicEQ S is stereo Otherwise the controls and parameters are the same as the pre processor form discussed in section 10 1 above with one exception The plug in version has an added convenience feature Tip When adjusting controls with the sliders hold down the shift key reduces the scaling and provides greater control Page 126 Chapter 11 REpairTool LE Imagine that during a music festival you recorded a unique live performance in a concert hall or church After checking the recorded material in your studio before production and mastering you decide the recording was successful in general except for a few annoying disturbances during some quiet passages somebody s cough a squeaky chair the horn of a passing truck a cell or mobile phone ringing In addition despite the exceptional artistic interpretation there were a few significant errors a loud scratch in the part of violin soloist and one too early tone in the brass section All this makes your recording unacceptable and of course the concert cannot be repeated As an experienced audio engineer you know very well that all traditional techniques and tricks fail when you try to remove the disturbances mentioned above
57. and places Track marks at the edges of long duration quiet passages Both amplitude and duration are user adjustable To use first Option click on the Marks button to create Track Start and Track End marks Double Click on each title to enter Title text Then Option Click on the Export Button In the resulting modal dialog specify the amplitude default is good and duration usually 3 seconds of the selected region you want to mark The results of the Analog Black To marks function will provide quite usable Track mark placement even with un edited material The placement accuracy is dependent on the settings used as well as the assumption that tracks always start and end with an increase then decrease in amplitude and quiet in between However it is very likely that those same criteria also apply to other moments in the course of a musical piece so the results of the Analog Black To marks function should always be checked for acceptable accuracy You may also try the command check the result and adjust the parameters prior to undoing or deleting marks and using the function again See section 3 9 6 below for useful information on checking mark accuracy 3 9 5 Tracks ART allows you to display and manipulate Track Start and Track End Marks Each Track that will result from your current Track placement is shown in grey while the pause between tracks is shown in blue An enlarged portion of the Track Bar and the Start of Track 1 Doub
58. anel s where the punch in is needed Then locate the Edit Point or Playhead in advance of the punch in point providing 1 to 3 seconds of pre roll and commence playback by pressing the spacebar or the Play button on the Transport Controls When the Playhead arrives at the desired punch in point select Play gt Record or click the Record button from the Transport Panel and the punch will start To stop the recording either tap the space bar select Play gt Record or click the Record button again and the recording will stop leaving the Playhead at the location where the punch out occurred 5 2 6 Edit Recording This option located in the New Sound file Parameters window allows opening viewing and editing of the file being recorded during the recording It should not be used in ART Note that when the Edit Recording option is selected ART uses about 15 more Y disk bandwidth for a stereo recording so hard drive performance may be affected Page 67 5 3 Preset a Recording Duration When the length of a recording is known in advance ART can be set to record for a preset duration This timed recording can be used for unattended recording conserving disk space or to replace parts of pre existing material in one or more Panels 5 3 1 Recording a Selection or Segment Select a region of the desired length in the Panel s where recording should take place by click drag to create a yellow highlighted area that represents
59. as an Aggregate Device To create an Aggregate Device 1 Locate the Audio MIDI Set Up Utility in Applications Utilities and launch 2 In Audio MIDI Setup click the Add button in the Audio Devices window A new aggregate device appears in the list on the left side of the window To rename the device double click it 3 With the new aggregate device selected on the right side of the Audio Devices window click the Use checkbox for Built In Line Input and Built in Output or your DAC if you have one The list on the right shows the currently connected audio devices and the number of input and output channels for each one 4 Choose Built in Line Input from the Aggregate Device s Clock Source pop up menu 5 With the Aggregate Device selected locate the Action pop up menu at the bottom of the window looks like a gear and select Use this device for sound output and Use this device for sound input A Speaker and microphone icon will appear next to the device Page 15 ADO Audio Devices Aggregate Device bel Built in Line Input eo j i Clock Source Built in Line Input a Built in Digital Input Ne Built in Output Ne Built in Line Output Ne Built in Digital Output In Out Resample Audio Device un ro Built in Output gii Built in Line Input Built in Digital Input Built in Line Output Built in Digital Output SSP 242 Model 304 10014 0 20 INODaAa E Oo O
60. ation or length of the fade can be changed To do so zoom in so you can see what you re doing and have reasonable control of the fade Then click hold and drag on the upper inside edge of the fade to the desired location Note that with the cursor on the upper inside edge the cursor changes into a cross with left right and up arrows indicating you can change the duration Fade tool symbol while moving top inside edge of the Fade Of course the length of a fade can also be changed by moving the lower or outside edge of a fade leaving the inside edge in place Io do so move the cursor over the fade near the bottom of the display until the cursor changes into the Fade Tool again This time the cursor changes into a cross with left right and down arrows Fade tool symbol indicating you are changing the outside edge of the fade Page 43 Click hold and drag the bottom end of the fade to the desired position Release the button to confirm the change Remember that modifying the outside edge is only possible within the limits of the actual samples of audio data represented by the segment If the cursor is moved over the middle portion of a fade the Fade Tool cursor also appears but this time as a horizontal arrow with a vertical center line In this trim mode you are able to move the entire fade left or right changing its location without changing its duration This allows you to hide or reveal portions of th
61. bove you can click on any subdivision or click drag on the entire central time code display to select and modify the current location of the Playhead For all editable time code addresses a single click in any HH MM SS FF subdivision will highlight that subdivision allowing you to type in a value By click holding and dragging up or down the cursor will change to an arrow and the numeric value displayed will increase or decrease respectively All modifiable time code fields in ART support cut copy and paste Double clicking on any time field will select the entire field allowing you to enter a complete time code address 3 6 Navigating the Waveform Display There are many tools for quickly moving around inside of the waveform display This section covers scrolling and zooming in general and on selections 3 6 1 Scrolling If you are zoomed all the way out the entire waveform will be displayed If you are not zoomed out entirely some of the waveform will be invisible off the edges of the Panel You can move the window view left or right by moving the scroll bar at the bottom of the waveform display You can also move the window view left and right by using the Left and Right Arrow key respectively Page 39 Finally you can drag the view left or right by simultaneously holding the control option and command keys When you click hold the cursor changes to a hand to indicate you are in Move View mode 3 6 2 Zooming You can zo
62. by a set In and Out Point This command uses crossfade defaults when creating crossfades Page 78 7 3 13 Delete Crossfade The Delete Crossfade command deletes all frivolous Crossfades ones that cause no audible change in the underlying audio from the selected region Superfluous Crossfades are usually created with the Create Crossfade command discussed in the previous section and after an extensive editing session the Delete Crossfade command will clear any visual clutter making it easier to see the operative edits 7 3 14 Move Segments The Move Segment command allows the user to move one or more segments to another location on the time line Selecting this command opens the Move Segments modal dialog which shows the current position of the Playhead or start of the first selected segment Entering a new start time and clicking the Move button causes the head of the first selected segment to move to the new location All selected segments will also more by the same amount maintaining their relative position to each other Additionally this dialog offers three extra options By clicking the Where button you can load either the current position of the Playhead or the location of extant In point or Out Points all from a drop down menu Then by clicking the Move button the segment s shift to the new location The SRP button lets you load the current position of any extant SRPs also from a drop down menu The Move butt
63. cally changes the gain The current gain value of that node is continuously shown in the yellow Gain call out When moving Gain Nodes vertically the gain changes in steps of 1 dB By holding the option key while dragging a Gain Node the resolution of the gain change increases to 0 1 dB to provide fine control _ Note that gain changes between Gain Nodes follows a linear gain law By adding multiple Nodes other curves can be emulated Unwanted Gain Nodes can be deleted by holding down the option key while clicking on the Node You can make changes to a group of Gain Nodes simultaneously To do so select a region that includes the Node on which you want to work Then select the EDL gt Select Gain Nodes command All selected Gain Nodes will fill with yellow to indicate their state You can also shift click to gather a collection of grouped Nodes When grouped only the gain can be modified When changing the gain of grouped Nodes the Gain call out shows both the current value and gain delta or difference from the original value Also when grouped holding the option key for fine gain adjustment is disabled The Gain call out for grouped Nodes Once your Gain Overlay is configured according to taste all or some Gain Nodes can be locked against unwanted changes To do so first click drag to select a region containing the Gain Nodes you want to lock Then move the mouse over one of the selected Gain Nodes and control click
64. changes to your recorded audio such as gain EO NoNOISE or adding a fade you will need to use the dither feature in ART when exporting your files for best results Because the audio data is being modified it must also be redithered or subtly randomized with an injection of tiny amounts of shaped noise in order to prevent distortion In the Window gt Preferences gt Delivery pane you will find that ART has a default preference Page 141 to always redither the data when exporting or when simply playing back audio Redithering at 16 or 24 bits is always a trade off between lower distortion and a slightly but audibly elevated noise floor ART uses an exclusive spectrally shaped 2nd order or triangular PDF redithering scheme PDF or Probability Density Function describes the amplitude versus frequency plot of the dither generator Our shaped dither is an excellent trade off between audibility and optimal linearity A1 3 Naming Conventions 1 Do not use audio files with the same Tile name within a Project Rename beforehand where necessary with a descriptive name for later ease of archiving restoration and project interchange 2 The P amp E wing of the National Academy of Recording Arts Sciences has published recommendation for naming conventions and other workflow methods to improve project interchange and archiving See section A4 1 below yi LEARN As a general practice before importing then into ART make sure Ww
65. ck Mark Lock Marks From Selection UnLock Marks From Selection Lock All Marks UnLock All Marks Set Emphasis Reset Emphasis Delete Mark The Mark contextual menu Page 89 Move Edit Point To Mark This command moves the Edit Point to the current Mark Lock UnLock Mark commands These commands are discussed above in this section Set Reset Emphasis Also available in the Mark Info window these commands flip the state of the AES EBU emphasis bit for the current mark Delete Mark This command deletes the current mark 7 7 The Selection Menu Set SRP a Set SRP with Text F12 Lock SRPs from Selection Unlock SRPs from Selection Clear Selected SRPs a Drop Edit Point at Play Head Edit Point to Playhead Ml Move Edit Point to j Edit Point to Next Peak Select Segments To End E Select Segments To Start THE Select Segments from Selection The Selection menu 7 7 1 Set SRP This command places an SRP or Selection Reference Point in the selected Panel at the location of the Playhead or Edit Point if play is stopped Page 90 7 7 2 Set SRP with Text When this alternate command is selected the SRP is placed as in section 7 7 12 above except the text field that accompanies all SRPs is activated and the text insertion point is set ready for typing in a label 7 7 3 Lock SRPs from Selection This command locks all SRPs within a selected region 7 7 4 Unlock SRPs from Selection This command unlocks all S
66. cking on the G button to the left of a Panel and is available only when in Waveform Display Mode When enabled a red line appears superimposed on the waveform display The waveform display s amplitude scale along the left edge switches to a different standard that ranges from 144 to 24 dB the range of gain change available Initially the Gain Overlay is flat at the 0 dB setting Figure 4 9 Gain Overlay function activated showing the red Overlay and Nodes To change gain simply point at the desired time location and click on the Overlay The cursor changes to a round shape and a square Node will appear Nodes can only be added deleted or modified while playback is stopped You can also place gain nodes with region selections or the Edit Point To use this function first click drag within the waveform display to select a region Then select Edit gt Create Gain Nodes to add two nodes at the edges of the Gain Overlay and the selected region Because the Edit Point is really a zero duration selection it can also be used to create a single gain node with the Create Gain Nodes command Page 57 When you add a node a yellow highlighted Gain call out appears intheTitle Bar ofthe associated segment A newly created Gain Node with its Gain call out If you click drag a Gain Node it can be moved both horizontally and vertically Dragging a Gain Node horizontally moves it to a different time location while dragging it verti
67. d to be part of that Track Page 52 The Track Bar This same drag to resequence behavior is also available in the Windows gt Mark Info dialog Simply drag an entry in the track list to a new location to resequence Tracks 4 2 1 3 Snap to Zone The third method entails manually dragging and snapping segments to a pre defined song timing It is best to drag segments if you have not created Track marks to prevent unwanted mark relocation This drag and snap segments method of resequencing requires that the Snap to Zone preference in the Editing Tools tab of Windows gt Preferences be enabled Once the Snap Zone preference is set click on a segment s Title Bar to select it After it s selected all you have to do is click drag on Its Drag Bar as you move its head close to another segment s tail You will see either a vertical red or blue bar appear visually indicating you are in the snap zone Title Bar Drag Bal aT Plain English aif EM Of The City 1 The Title Bar and Drag Bar Cant Recall 1 The red auto spaced snap indicator Page 53 Cant Recall 1 a TIA A The blue flush snap indicator The bold blue bar indicates a flush snap where if you drop at that location the two segments will be tightly butted with no space no Edited Black in between The bold red bar indicates an auto spaced snap where if you drop at that location the two segments will have a precise preset space betw
68. d clicking any Title Bars a group of non contiguous or random segments can be selected simultaneously Multiple selected segments If you have an existing selected segment several additional segment selection choices are available By tapping the left or right arrow key you can select prior or latter segments respectively By holding down the shift key you can tap the left or right arrow key to contiguous select prior or latter segments respectively Note that when one or more segments are selected and playback is started the Playhead moves to the head of the first selected segment and playback commences from there 3 8 Simple Editing There will be occasions where raw sound files need modifications ART offers advanced editing features as well as simple tools to change amplitude and transitions 3 8 1 The Fade Tool The head start or tail end of segments are represented in the display by a thin black vertical line When zooming in this line will reveal itself to be a curve representing a fade or amplitude versus time envelope Each segment starts with an Fade In and ends with an Fade Out Fade Page 42 Ins and Outs are both Black Fades where black refers to Edited Black the absence of audio data in the Panel End of a segment with Fade Out glyph Fades have a specific starting location and duration Both parameters can be easily adjusted with the Fade Tool First the dur
69. d to unlock Track marks within a selected region 7 6 6 Lock All Marks This command locks all Track marks on the time line regardless of selected regions or segments Once locked the location of Track marks cannot be altered until they are unlocked 7 6 7 Unlock All Marks This command unlocks all Track marks on the time line 7 6 8 Analog Black to Marks This function measures the amplitude and duration of the audio in a selected region placing End of Track and Start of Track marks in locations that approximate the end of one track and beginning of the next Both amplitude and duration are user defined The default amplitude is set in the Editing Tools tab of the Windows gt Preferences window When invoking this function the Analog Black to Marks modal dialog appears In the dialog the default parameters can be changed after which the Analog Black to Marks function is started by selecting OK By clicking on the Cancel button the operation is stopped without further action Note that the results of the Analog Black to Marks function is never as accurate as Y the Edited Black to Marks function discussed in section 7 5 11 below The accuracy of the mark placement depends entirely on the accuracy of the parameters used so you may want to zoom in and with the ShowTrack Scale in dB preference set Editing Tools tab ofthe Windows gt Preferences window visually estimate amplitudes of your fade outs and noise floor The result of th
70. document Page 27 Move the Edit Point directly over the click by clicking directly on the click you want to remove It s easy to see a click when you zoom in DeClick for Small clicks Useful for most semi periodic problems Tailored for use on the human voice Page 28 ART removes the click under the Edit Point Click Removed using DeClick feature Step 3 Remove Crackle or Surface Noise The next step is to remove unwanted crackle Crackle can be thought of as the surface noise of a record but it can also be the distortion found in many recordings It s easily removed using the DeCrackle feature in ART Select the entire soundfile by clicking once on the Title Bar or using the shortcut Command A Click the MED button in the DeCrackle tool bar DeCrackle cle Medium Processing 0 95 Use for most problems ART will DeCrackle the entire sound file first the Track 1 or Left Channel then Track 2 or Right Channel dh HINT DeCrackle can do its magic on the entire recording or on smaller selections within a recording Note DeCrackle can take a few minutes to process a file Please be patient Page 29 Step 4 Remove Analog Hiss or Hum if present The next step is to remove any hiss or hum that may be left over from the analog equipment used to record the music Click the BBDN button in the DeNoise tool bar DeNoise F weide Broadband DeNoise The DeNoise Window a
71. e e Set Fade to CrossFade forces parameters to a default Crossfade e Set In Out Fade s to Selection forces either a Black Fade or Crossfade to the duration and overall location of a selected region e Set Fade lo Default changes the Fade s based on user defined pre sets from the EDL gt Edit Fade Mode When the Fade Tool is active any change you make using the tool to a Fade or to the underlying audio is real time The default fade shape can be selected in the Editing Tools tab in Windows gt Preferences 4 2 Drag Drop 4 2 1 Resequencing For rapid assembly of program material ART provides three easy methods for automatically snapping to either 1 2 or 3 seconds of Edited Black between segments 4 2 1 1 AutoSpace All Segments The first method is the Edit gt AutoSpace All Segments command discussed in section 3 8 6 above 4 2 1 2 Drag amp Drop The second method entails manually dragging CDTracks Dragging Tracks requires that the Show Track Bar preference in the EDL tab of Windows gt Preferences be enabled Once Track Bars are visible click hold on any song s Track Bar to select it and drag it to the desired location Existing Tracks shuffle into place and the dragged Track takes its place where dropped in the CD track sequence The audio associated or attached to the marks shuffles along with the marks The pause between an End ofTrack mark and a subsequent Start of Track mark are always considere
72. e waveform display and covers a preset percentage of the waveform display area The amount of time shown around the selection boundaries is defined by the Zoom to Sel Start setting in the Time Display tab of Windows gt Preferences See section 7 9 5 for more information on the Time Display tab Page 95 7 8 11 Zoom to Entire Project Track Under normal operation with a stereo Project these two menu commands work identically These commands zoom so that the entire program is shown across the entire waveform display However if one of the two Panels contains more audio information stretching over a longer duration on the time line than the other channel the Zoom to Entire Track command will zoom to the length of the selected track This situation typically occurs if the two Panels contain dual mono material or a wildly stereo program created in mono editing mode 7 9 The Windows Menu Meters a6 1 Equalizer 52 Export Sound File 2HE Export Tracks 5 E Soundfile Preferences 7 Preferences a6 Amarra Vinyl Project The Windows menu The Windows menu provides quick access to all available windows within ART and an active Project 7 9 1 Meters This command toggles the Meters window or Master section See section 5 1 for a detailed description of this window 7 9 2 Equalizer This command opens the Sonic EQ Window Sonic EQ is global meaning it applies to all files played in or exported from ART Read th
73. e Analog Black to Marks function should always be checked for errors and unintended placement Page 88 7 6 9 Edited Black to Marks The Edited Black to Marks command automatically places Start of Track Track marks at the beginning and end of all Fade Ins and Fade Outs respectively To use the Edited Black to Marks command you must first select either segments or a region The presence of End of Track Marks makes it a bit less predictable when using the Track Bar for resequencing but the presence of End of Track Marks means that there will be a countdown on the player s display when the resulting CD is played back 7 6 10 Edited Black to Start Marks The Edited Black to Start Marks command automatically places Start and End of Track Track marks at the beginning and end of all Fade Ins and Fade Outs respectively To use the Edited Black to Marks command you must first select either segments or a region Because only Start of Track Marks are created it makes it very easy to resequence using the Track Bar On the other hand the absence of End of Track Marks means that there will be no countdown on the CD player s display when the resulting disc is played back 7 6 11 The Mark Contextual Menu By control clicking on a mark a contextual menu appears This menu provides choices similar to the Mark main menu and allows you to modify the behavior of a mark without using this pull down menu Move Edit Point To Mark Lock Mark v UnLo
74. e chapter on Sonic EQ for more info on use 7 9 3 Export Sound File This command opens the Export Soundfile dialog box and exports sound files in either AIFF WAV BWF format in 16 or 24 bit word length and CAF files in 32 bit format This is the same things as clicking the Export button It exports the audio with amplitude changes from segment gain plus any Gain Overlay and fades Page 96 Learn ART supports sample rate conversion and 32 bit CAF file support when using the ExportTracks or Export Sound File commands This feature creates multiple files at the same time based on the sample rate and bit depth you select Supports 44 24 and 44 16 and 48 24 A new folder is created for each conversion at the Path you define from Set Folder and titled 44 24 44 16 and 48 24 Since this action does multiple exports at the same time processing can take a while NEW Shortcut ctrl cmd E for Export Tracks ADT Export Soundfile Set Folder JE cup interieaved 1 CES E 44 16 E Export JE Clear The Export Sound File Dialog Box Note the sample rate conversion options To use this function create a selection by either clicking on a segment s Title Bar or by click dragging in the top Panel to create a time region selection Then choose the destination directory with the Set File button Then set the file type word length and speed Optionally you can specify that the newly created mater
75. e duration can be symmetrically altered Holding the command key allows you to override symmetrical mode and alter duration with the left edge anchored while holding the option key provides the same override mode for the right edge The Fade Tool in Crossfade Mode 4 1 4 Changing the Fade Type The Fade Tool contextual menu also offers two choices for fade type These choices accessed by hold the control key while using the Fade Tool allow you to change the context in which the fade will be used For the purpose of CD preparation Fade Ins and Fade Outs are fundamentally different from Crossfades The difference is where the actual edit event occurs in the underlying audio and this subtly but profoundly effects the accuracy of your Track marks and resulting Page 51 metadata since the edit event is where ART places the Track marks in any of the automatic modes With a Crossfade the edits occur at the very center of the two Black Fades see section 3 8 1 Fade Ins and Fade Outs on the other hand are designed to be used as the transition to or from Edited Black where no audio is present on the time line Use the Set Fade to Crossfade option when you expect to connect its associated segment to another segment for a seamless edit between segments The Set Fade to Default options force all fade parameters back to their appropriate defaults e Set Fade to Fade In Out forces parameters to the appropriate default Black Fad
76. e the lower Panel represents the right channel A scroll bar appears at the bottom of the Project directly beneath the lower Panel allowing you to scroll across the time line To the left of this scroll bar a drop down menu is available where the time standard can be selected 75 fps CD Frames is suggested To the left of each Panel are solo and mute buttons labeled with an S and M respectively Also a gain overlay button labeled G is available to the right of S and M buttons The function of this button and the application feature it brings up will be discussed later in section 4 4 Immediately above the waveforms is a black banner with time values in yellow At the top of the black area is the time line for the waveforms The bottom of the black area is reserved for Page 33 Track Marks and the Track Bar discussed in section 3 9 The data underlying the whole of the two Panels with marks and all data describing the audio program is also referred to as the EDL or Edit Decision List and is saved as a separate file within each Project s folder Sou Of The Cit ae H Mew World Mornad 1 Waveform display with marks above the Panels Above the time line are the transport controls They offer dedicated buttons for play stop and record A Project s Transport Controls Also along this bar is the Toolbar with DeClick DeCrackle Undo DeNoise EO and Export buttons DeClick DeCrackle A Projects Toolbar
77. e underlying segment by shortening or lengthening the segment duration trimming the segment as you go Click hold on the fade and drag the fade left or right Releasing the mouse button fixes the fade in that location While you are moving or changing a fade with the Fade Tool the waveform is live continuously changing visually to reflect the modifications you are making ee a Dragging the inside edge to lengthen a Fade Note that the maximum duration of a fade is equal to the underlying sound file duration As mentioned above it is not possible to move a fade past the actual start or end of an underlying sound file Also moving Black Fades so more than two overlap is not allowed as well A modal CheckForTripleOverlap dialog will pop up telling you that your command would result in three Black Fades lying on top of each other 3 8 2 Deleting Part of a Sound File lt may be necessary to edit out some part of a sound file ART allows you to do so quickly and with great precision To easily cut out a portion of a sound file simply select the region that you want to remove Then select Edit gt Delete Selection or hit the delete key to remove the selected region and slip all downstream segments left to close the gap More on this later Similar to clearing the selected region you now have two new segments When deleting the selection however the two new segments are joined together with a Crossfade I
78. een The duration of the inter segment spacing is determined by the AutoSpacing Duration selector in the Editing Tools tab of the Windows gt Preferences window Drag and drop with autospacing is useful in conjunction with the Edit gt Clear Delete Selection commands to start with one long continuous segment such as a consolidated complete mix and quickly segment space and resequence the individual songs WNote that when using this fully manual method sequencing should be performed prior to mark placement This will prevent erroneous repositioning of marks as your segments are shuffled 4 2 2 Drag Overlay When you drag and drop one segment on top of another with no modifier keys employed one segment will overlay another when you drop it on top The two segments coexist in the same location on the time line and sum together during playback This feature is useful when used in conjunction with Text Mode discussed in the next section so you can individually control the overlapping segments Also see section 4 3 2 below for creating a combo Project a combination waveform plus text Project layout 4 2 3 Drag Insert amp Ripple Shift dragging segments is another useful editing feature With the shift key held down the dragged segment is inserted when you drop it on top In addition downstream segments those later on the time line are pushed or rippled to the right making room for the inserted segment 4 2 3 Dra
79. elected area like all the other interpolation types It simply reduces or amplifies existing spectral components in the selection according to the Gain parameter in the ReSynthesis Parameters 2 Gain Max 7 dB Mid 0 dB Min 20 dB decides how much of the respective original input spectrum is added to the re synthesized signal in the marked area This function preserves some signal components inside the selected area which might be a useful material With Gain set up to Max however even the disturbances may partially remain in such cases use Mid or Min until the results become as expected The Gain field provides two functions For the Gain interpolation type it controls the gain applied to the signal components in the selected area and for all other interpolation types except copy the value acts as an intelligent threshold The range is 20 7 dB with a default value of 0 dB 3 Repair Clicks Mix Tones optimizes the setup of internal analysis and re synthesis parameters time frequency resolution dependent on the character of disturbances you want to remove In general according to the selected name Clicks should be used for time selective removal of short disturbances like spikes and clicks and Tones for frequency selective removal of discrete tones or harmonics Mix is an intermediate setup especially useful if Page 135 you perform a step by step removal of complex events like loud cough with a lot of low frequency reverb
80. ellow for low energy green and blue for middle energy and finally purple and white for high energy After getting some experience this 3D spectrogram representation allows a good feeling for localization and identification of sudden unwanted acoustical events The spectral area of interest can be precisely marked with a resizable rectangular window A Play button allows you to hear selected parts of the processed signal LEARN The spectrogram of the channel being processed displays in the case of mono file or selection or the sum of the left and right channel in case of the stereo files For stereo recordings interpolation in marked area is carried out in both channels To process either the left or right channel only change the yellow bar at the left margin of the EDL window from the middle location to either channel A lA Basic workflow e Select the audio you want to repair in your AudioRepair Toolkit Project window by clicking and dragging across It to highlight in yellow e From the Toolbar in AudioRepair Toolkit select the Repair button e Define the area you want to fix by Click Dragging across it and process selected areas then to finalize your fixes back to AudioRepair Toolkit 11 3 1 Main Features e up to 192 kHz sampling rate Page 128 e extraordinary results compared to any other cleaning method due to selective treatment of spectral representation of the signal and not Its wavetorm e enormous time savi
81. eration around 4 Cursor Values time hz dB displays the current values of your cursor location If the mouse cursor Is located within the spectrogram the cursor callout indicates the properties of the spectral component at the current cursor position time frequency and amplitude 5 Display Range 40 30 dB 50 20 dB 60 10 70 O dB 80 10 dB 90 20 dB adjusts the intensity of spectrogram colors to the dynamic range of the analyzed audio material in general 40 30 dB is intended for very strong signals while 90 20 dB for very weak The remaining buttons are assigned to gradually spread intermediate values The default value is 70 O dB Be aware that the Range values are related to spectral components of the processed signal and not to the overall signal level Therefore prior to processing they may look unusual 6 Stop Button stops playback and returns the play cursor to initial position 7 Play Button starts playback from the current cursor position 3 Copy Button copies the content selected in the spectrogram 9 Paste Button pastes copied content at the playhead While interpolation is the preferred method of removing isolated artifacts from complex audio material there are situations where this method suffers from adequate material around the artifact that could be used as context for the interpolation An example of this would be where the artifact itself is surrounded by strong transients In suc
82. ery handy for determining context The level of zoom is determined by a submenu Zoom around Playhead 0 5 Second foom around Selection Center p 1 second 2 Seconds Zoom To Selection Start A z 3 Seconds oom To Selection End 10 Seconds Zoom To Selection 66 30 Seconds Zoom To Entire Project 60 Seconds Zoom To Entire Track 2 Minutes 5 Minutes 10 Minutes The Zoom around Playhead menu The amount of time chosen in the submenu indicates the total amount of time shown in the display after the Zoom Around Playhead command is selected he amount of time will be equally divided between the area to the left and right of the Playhead position 7 8 8 Zoom around Selection Center This command ts similar to Zoom around Playhead except that instead the display is centered around the centre of a selected region or selected segment s 7 8 9 Zoom to Selection Start End This command zooms the waveform display to the start or end of the current selection with the start or end of the selection centered in the waveform display and is very handy for refining a selection s boundaries The amount of time shown around the selection boundaries is defined by the Zoom to Sel Start setting in the Time Display tab of Windows gt Preferences See section 7 9 5 below for information on the Time Display tab 7 8 10 Zoom to Selection This command zooms to the currently selected region such that the selection is centered in th
83. es the selected Panel to show or hide the Gain Overlay feature The Gain Overlay is only visible in Waveform Mode and is shown as a thin red line superimposed on the waveform display Projects saved with Gain Overlay will open with Gain Overlay visible upon reopening Note that although Gain Overlay may not be visible when activated it is always active in the audio output signal path Only the EDL gt Bypass Gain Overlay command will bypass any Gain Overlay functionality See section 6 3 3 below for more information on the Bypass Gain Overlay command 7 4 3 Bypass Enable Gain Overlay This command bypasses or engages the Gain Overlay function When in bypass the Gain Overlay line in the waveform display turns grey and the corresponding Gain Overlay Button s on the left side of each Panel turn yellow Page 81 Note that the Bypass Enable Gain Overlay function can only be selected when Gain Overlay is shown Option clicking on a Gain Overlay Button will also bypass the Gain Overlay function 7 4 4 Create Gain Nodes With Gain Overlay enabled and a region of the time line selected this command creates Gain Overlay nodes at the boundaries of the region To use this function first click drag within the waveform display to select a region Then select Edit gt Create Gain Nodes to add two nodes at the edges of the Gain Overlay and the selected region Because the Edit Point is really a zero duration selection it can
84. fault 3 dB down in the center e Root Cosine default 6 dB down in the center e Exponential provides very rapid reduction in gain across the Fade ART provides five fade shapes to allow you to produce a pleasing edit or transition no matter what sort of material you have available You can also use fades for less obvious purposes such as applying a new Crossfade on an unwanted sound changing the gain law to exponential and adjusting the duration to drop out or suppress the unwanted sound Though each gain law is useful in certain situations the linear fade shape is the most widely applicable 4 1 3 Changing the Fade Duration In the Fade Tool contextual menu the Set Fade to Selection forces the fade duration to match the duration of a selected region that encloses the fade When a region is selected this option stretches or shrinks the length of the Fade to match the position and length of the selected region The contextual menu changes to reflect the currently selected Fade Type The Fade Tool functions also apply to a Crossfade Figure 4 3 below shows the Fade Tool in Crossfade Mode Notice that the cursor assumes a double horizontal arrow shape and both fades are highlighted both green and red pes Blue vou om ified an al By click dragging left or right the overall Crossfade location can be altered By shift click dragging notice the cursor shape changes to a vertical arrow the Crossfad
85. g Replace When you command drag and drop one segment on top of another then the dragged segment replaces the existing audio where it s dropped As with all editing in Sonic Studio s products this move is non destructive Page 54 4 3 Text Mode Text Mode provides a playlist view of the Panel s contents with editable segment names along with editable start and end times An editable Gain value see section below along with a non editable Duration value are also shown To view Text Mode select the EDL gt Show Text View command To switch back to Waveform mode select the EDL gt Hide Text View command Amarra Vinyl Projecte T rem Overapill IN rit Shar ral Duration ab ri Higher Lowe Ful LO OO 055035205 000 Take H As H Comer 0 ap Aj 35 11 16 46 79 0522 71 m ei Freecom Over spill 11 1645 3 1652 22 10 05 35 19 80 Buck i the High Life Again 16 556160 221 12 37 05 TT 75 tp CO Framas 9 4 3 1 Gain Adjustment Compiling audio from different sources usually makes it necessary to alter the amplitude of some of your source material The last column in Text Mode displays the current gain of all segments When Segments are opened or added to the EDL the segment gain is nominally set to zero dB By double clicking on the Gain value of the selected segment the Segment Gain modal dialog opens The Segment Gain dialog is also available via the Edit gt Segment Gain command for selected segments and al
86. h cases the copy and paste method can produce far superior results With copy and paste you can simply find another area that looks like it could fit into the space you want to interpolate and insert it RepairTool LE copies an spectrum from one region to another To perform the area copy operation click drag to select a source area and click the Copy button The selection can now be moved around with the mouse to the desired destination As long as the Copy Mode is active the Type parameter will show Copy To paste the selected area into the destination location either click the Process button or select Process from the contextual menu To leave the copy mode simply click somewhere outside the selection The Type parameter switches back to Its previous value Copy and paste can in desperate situations be used to pitch correct material First locate and mark the fundamental Then copy and paste that region and test the result If it acceptable then move up the chain of harmonics pasting them in at the desired locations Once you have achieved the desired result localized in time then you may want to perform a more global horizontal or 4 dim repair to smooth the result 10 Process Button carries out the interpolation in the marked area Page 136 11 Undo Button undoes the interpolation or cmd z The maximum number of undo steps is limited only by the available computer memory 12 Redo Button re does the last und
87. he next two figures once again include quality factors Q of 0 5 2 and 10 EO Transfer Function Ist order bandpass with f of 1000 Hz Page 123 EO Transfer Function 3rd order bandpass with f of 1000 Hz EO Transfer Function Notch filter with f of 1000 Hz The RIAA filters provide emphasis for creating cutting masters for lacquer and de emphasis for correcting material that is digitized flat from 33 1 3 RPM phonograph record This approach means thatthe excellent minimal phase characteristics ofthis digital RIAA de emphasis implementation can be used in place of an imprecise and potentially colored analog filter network in a phono preamplifier Page 124 EO Transfer Function RIAA de emphasis The Emph and DeEmph selection are for 44 1 kHz AES EBU audio The de emphasis type is quite useful when archival material was emphasized during recording but the Emphasis flag was not set The No DC type is a special form of high pass filter designed for archival recordings made with EIAJ adapters so called F1 recorders which were short lived consumer digital audio recorders manufactured by Sony Matsushita and others They employed very simple low cost converters and often injected a large amount of DC offset into the signal to overcome crossover distortion This filter will remove that DC offset Lastly the NoDC DeEmp type is again a special filter for recordings made with
88. he previous view for visual context Zooming in provides more detail while zooming out lets you see more of the overall program 7 8 3 Zoom In Around In Out Point These commands change the magnification of the waveform display while centering the waveform display on the In Point or Out Point The amount of time shown around the In or Out Point is defined by the Zoom to In Out setting in the Time Display tab of Windows gt Preferences See section 7 9 5 for information on the Time Display tab 7 8 4 Zoom In Out around Edit Point These commands change magnification while keeping the waveform display centered on either the Edit Point and is very handy for determining context The amount of time shown around the In or Out Point is defined by the Zoom to In Out setting in the Time Display tab of Windows gt Preferences See section 7 9 5 for information on the Time Display tab 7 8 5 Zoom In Out around Playhead These commands combine a Zoom In Out command while keeping the waveform display centered on the Playhead also very handy for determining context 7 8 6 Zoom to Previous Next These commands are like Undo Redo for zoom commands ART remembers the last lower resolution out zoom level To return to an prior zoomed out level choose Zoom to Previous To return to the more recent zoom level choose Zoom to Next Page 94 7 8 7 Zoom around Playhead This command zooms with the Playhead in the center of the waveform display and is v
89. ial replace the existing The Edit after Export check box performs a Replace edit synchronously replacing the material existing prior to the export with consolidated material created from the export function Once all options are set clicking on the Export button causes ART to play the selected region exporting the audio as it plays See section 4 9 4 for more information on Replace edits fi Note that playing material at 1x speed will not improve the quality during an export so it is recommended that unless real time playback is needed you use either the 8x or Max speed setting as it has better temporal resolution Also during high speed exports the time display and Playhead do not operate in real time and audio is not available at the outputs Page 97 _ Learn About Dither Make sure to set dither to 24 bits for exporting files The Dither indicator in the top center section of the Project window shows green when dither on output is enabled and grey when dither is disabled To change dither control click on the Dither label and a contextual menu appears allowing dither to be enabled disabled and change bit depth w Enable Dither Disable Dither 20 7 9 4 Export Tracks Learn ART 1 0 now supports sample rate conversion and 32 bit CAF file support when using the Export Tracks or Export Sound File commands This feature creates multiple files at the same time based on the sample rate a
90. iew mode 40 SD2 36 73 Segments Auto space 36 deleting 44 Move Segments 79 moving segments 80 Nudge Segment 79 nudging segments 80 Reverse Polarity 79 Page 159 Segment Gain 55 segment gain 79 segment names 80 snapping 54 snap zone 53 Title Bar 42 55 Segment Gain 79 Absolute 56 Normalize 56 relative 56 Reverse Polarity 57 Select Deselect selecting a Region 40 selecting Segments 41 Selections 40 Select Deselect 77 Clear Selection 78 Delete Selection 77 selecting Segments 93 select Regions 93 Selections zooming to selections 95 Selection from Selected Segments 92 Selection menu 90 Select Edit Point to End 92 Select Gain Nodes 82 Select Segments from Selection 93 Select Segment to End 92 Select Segment to Start 93 Select Start to Edit Point 92 Sending a Crash Report 75 Series 300 DSP I O Processors 61 Set File 97 99 Set SRP 90 Set SRP from selection 91 Set SRP from selection 91 Show Hide Gain Overlay 81 Show Hide Text View 55 81 Show Segment Names 104 Show Track Bar 52 103 Snap to Edit Point ON 101 Snap lo Zone 101 Page 160 Snap zone 53 sneezing 129 Sonic EQ 116 Bypass 118 Group menu 118 Open Param 117 parameters 118 pre processor 116 O or Quality Factor 118 Save Param 117 sections 117 stopband ripple 121 Track Menu 117 soundBlade 127 128 sound files Importing 32 opening 32 35 73 split stereo 36 source material 141 source material considerations 141 spectr
91. in any sound file Note that Manual DeClick processes generate two new files for each sound file that Y is repaired These cd and rl files contain the samples removed during repair and a list of their locations respectively If you move or delete either of these files you will not be able to restore the original samples undoing the repair Manual DeClick is generally used on very short duration regions 14 msec or less The DeCrackler can process an unlimited amount of material Page 106 8 2 3 1 Interpolation Algorithms There are two interpolators that are available in ART Each is suited to a particular type of audio problem and context 8 2 3 2 The DeClicker The DeClick feature in ART has three useful repair tools DeClick CHa GE DeClick for Periodic Pitched based sounds Useful for solo instruments Pitched DeClick DeClick DeClick for General clicks Useful for most declicking General DeClick DeClick DeClick for Small clicks Useful for most semi periodic problems Tailored for use on the human voice DeClick for small clicks or ticks The DeClicker is a general purpose algorithm The majority of de clicking situations can be handled by simply choosing this option The DeClicker examines the audio on either side of the selection to determine the context for resynthesizing audio to fill the gap Here s an example Page 107 AE The original ma
92. ince ART uses OS X s Core Audio the quality of audio playback will be entirely dependent on the hardware and driver s used Y Note that ART 1 0 and later is not supported on G5 PPC Macs Learn ART 1 0 is a 32 bit application with all processing done at double precision 2 1 2 Installation amp Activation To install ART please click on the Amarra_Vinyl_Release pkg you downloaded from www sonicstudio com Follow the on screen instructions to install your software Please refer to the ART Activation Guide located in your Amarra application folder for step by step instructions on activating ART 2 1 3 Lost Your Activation Code To have your ART Activation Code and Password sent to your email address please visit Amarra Product Activation Code Control Panel Page 13 2 1 4 Recording Requirements At a minimum ART requires the following to record e Apple Mac as described above e Analog to Digital Converter ADC capable of recording at 96 kHz or greater This can be an external converter connected via USB or FireWire or using the built in line input on your Mac e Interconnect cable from phono stage to ADC e USB FireWire or Thunderbolt cable for external ADC 1f used 2 2 Recording With ART After initial set up ART makes it easy to quickly record professional quality high resolution audio files Here is an overview e Setup an input device on your Mac e Define where you want to put the recorded files
93. king the Clear button clears the peak values for the numerical level indicators as well as any overloads indicated Clicking Reset resets the peak hold of the meters as well as any peak hold value Page 70 Chapter A MENUS For all menus the keyboard equivalents for all commands are listed in Appendix 1 Also note thatthe word folder is used to describe disk directories in keeping with Mac OS tradition Finally all edits in ART are both instantaneous and non destructive The only exception is the File gt Save Reversed command which renders or creates a new sound file of the reversed material 7 1 The ART Menu About Audio Repair Toolkit Preferences Services j Hide AudioRepair Toolkit 3H Hide Others Quit AudioRepair Toolkit 0 The ART Menu 7 1 1 About AudioRepair Toolkit Opens a dialog box describing the version and build numbers of your ART application Clicking on the dialog box closes it 7 1 2 Preferences Some of the functions and commands within ART can be changed to adhere to your preferred values or behavior All of these preferences can be adjusted in the menu ART gt Preference Window See Section 7 8 5 for more information on setting Preferences 7 1 3 Services The Services menu item provides access to Mac OS X s system wide services 7 1 4 Hide AudioRepair Toolkit Use the Hide ART menu item to hide ART and all of its open windows allowing you access to other programs running
94. ks Analog Black to Marks Edited Black to Marks HFS Edited Black to Start Marks F9 The Mark menu 7 6 1 Track Start Mark The Track Start Mark command inserts a Start of Track Track mark at the location of the Edit Point 7 6 2 Track End Mark The Track End Mark command inserts an End of Track Track mark at the location of the Edit Point 7 6 3 Delete Mark The Delete Mark command is used to remove existing Track marks If a region is selected in a Panel all of the Track marks inside the selection are deleted If no region is selected this command will remove a Track mark if the Edit Point is at the exact time location of that mark Page 87 7 6 4 Lock Marks from Selection The Lock Marks from Selection command is used to lock Track marks to the time line This command locks all Track marks inside a selected region Once locked mark locations cannot be modified until they are unlocked This command is equivalent to clicking the Lock button if disabled in the Track Info tab of the Windows gt Mark Info window Note that this command does not affect the ability to change Title emphasis state Y ISRC or SCMS metadata associated with a mark Also note that this command does not attach marks to audio segments Editing any audio with locked Track marks will change the time relationship between those marks and the associated audio 7 6 5 Unlock Marks from Selection The Unlock Marks from Selection command is use
95. layhead dialog and click Move the Playhead will jump to the new location Besides manually entering a new location you can also use the Where button to load the address of the In or Out Point if present while the SRP button loads the locations of any existing SRPs Clicking the Cancel button leaves the Playhead at its original location Note that when the Playhead is visible by disabling the Play gt Hide Playhead When Stopped toggle you can hover the cursor over the Playhead s location either in the time line or Panels the cursor changes shape to a sine wave with vertical line Once in that mode you can click drag the Playhead to a new location Page 86 7 5 16 Hide Playhead When Stopped This command is somewhat of a misnomer in that it toggles on or off the ability to drag the Playhead to a new location when stopped A check mark appears next to this menu item when this function is disabled This command applies to relocating the Playhead in either a Panel or on the time line and is useful if you find yourself grabbing the Playhead accidentally while attempting to edit or modify some other object in a Project Even with this command enabled checked you can always double click in the time line to relocate the Playhead and begin playback at that location 7 6 The Mark Menu Track Start Mark Fg Track End Mark F10 Delete Mark a6 F12 Lock Marks from Selection Unlock Marks from Selection Lock All Marks Unlock All Mar
96. le clicking in the Track Name area next to the number for each track you can enter the title for each track Page 47 alii Lowe Full tis A AA fr Side 42 1 aif Ec Double clicking on the Track Name brings up the box to title each track Hit the Enter or Return key to close Page 48 Chapter 4 Advanced Editing 4 1 Fade Tool Options 4 1 1 Changing Fade Parameters ART offers a simple and intuitive tool for changing a fade s gain characteristics the Fade Tool In the previous chapter we have seen how to use this to perform simple operations The Fade Tool offers additional possibilities to alter fades according to your needs and preferences The Fade Tool is enabled by default By holding the control key and typing A you can quickly disable or enable the Fade Tool Alternately you can force the Fade Tool off by default In the EDL tab of the Windows gt Preferences window the Fade Tool check box keeps the Fade Tool enabled until you choose to disable it manually When moving the cursor over a fade with the Fade Tool enabled the default cursor changes into the Fade Tool and the selected fade turns either green for an Fade In red for an Fade Out or both Depending on cursor location relative to the fade the Fade Tool modifies the start end length or position of the fade See section 3 8 1 page 42 for basic information about the Fade Tool If you zoom in on a Fade so that more than about 10 of the wavefor
97. lear Selection Clear Selection works similarly to the Delete Selection command The Clear Selection command clears the selected segment region or area defined by Edit Points but does not move any other audio on the time line 7 3 9 Delete Selection This command deletes the current selection or selected segments The outer edges of the selection are joined with a default crossfade and all subsequent audio is shifted relatively 7 3 10 Clear Selection This command clears the current selection or selected segments leaving all audio in place and replacing the audio to be cleared with digital silence The edges of the cleared area are faded out and in with default crossfades 7 3 11 Create Crossfade Create Segment This command ts context sensitive and It s appearance in the menu will change according to the current Panel s state It either creates a new crossfade from the current Cursor s position when no selection is made or it creates a new segment at the place of the selection when a selection is made This command uses crossfade defaults when creating crossfades 7 3 12 Create Crossfade from In Point Create Segment from In amp Out Point s As with the previous commands this command is context sensitive and It s appearance in the menu will change according to the current Panel s state It either creates a new crossfade from the current In Points position when no Out Point is seen or it creates a new segment at the area included
98. ly set the file type word length and speed 8x or MAX is recommended then click the Export button ART will play the selected region out of realtime exporting the audio as a new file Page 45 speed setting as It has better temporal resolution Also during high speed exports the time display and Playhead do not operate in real time y Note that playing the material at 1x speed during export will not improve the quality Y so It is recommended that unless real time playback is needed you use the highest Y Note that 24 bit soundfiles can be created using the Export Sound File feature 3 9 Track Marks Defining Metadata This section provides the basics on Track and delivery aspect of ART Once all of your tracks for our recording are put in the right order and spaces between the tracks are adjusted to taste the Track marks can be created Track marks generate the TOC or Table of Contents for the final replication master Track marks are shown in the black banner just below the time line Tell Me WHY 5 HAS The Track Bar and its Track marks With the Track Bar visible Start of Track marks are indicated by an arrow pointing to the right while End of Track marks are indicated by a arrow pointing left Index marks are indicated by a yellow arrow pointing down 3 9 1 Inserting Track Marks Manually To insert a new Track mark place the Edit Point at the location where you want the new mark to appear Then
99. ly tailored hole in the spectral representation of the processed signal that can be removed and replaced The interpolation may even be restricted to certain gain ranges within the selected area which is very useful if only a certain part of the signal needs to be treated e g one specific harmonic The RepairTool LE window is fully re sizable for increased accuracy and optimal compatibility with all screen resolutions Unlike work alike products RepairTool LE is able to dig into recordings with very low signal to noise ratios and pull out usable program Plus the ability to cut and paste time and spectral patches all add to its amazing usefulness and productivity Page 127 RepairTool LE is optimized for very time effective workflow and therefore equipped with well prepared preset like controls It s ideal for post pro broadcast TV and film engineers working under extreme time pressure 11 2 Scope of this Chapter This User Manual describes the functionality of the Sonic Studio s RepairTool LE feature for use in AudioRepair Toolkit 11 3 QuickStart Using RepairTool LE Working with RepairTool LE is easy and intuitive Repairfool LE loads the requested part of audio material you ve chosen and analyzes it The result is displayed as a 3D spectrogram with time on the horizontal axis frequency on the vertical axis and amplitude of the spectral components color coded The color assignment follows the order of the rainbow red and y
100. m display is occupied by the fade you will see the thin blue vertical line that represents the edit event and a diagonal line or curve that represents the gain law or change in amplitude dictated by the fade Situated in the middle of the diagonal curve and attached to that line is a square bead the Control Point for the fade curve Anatomy of a Fade Figure 4 1 above shows the major parts of a Fade and the various contextual shapes that the cursor assumes based on location Note the Control Point and edit event discussed in upcoming sections On the left the 1 cursor is set for an inboard duration change Placing the cursor at that location and click dragging will increase or decrease the duration of the fade without changing the edit event location or gain law This is the preferred handle to use when changing duration Page 49 Next is the 2 cursor shape displayed when the cursor is set to change the overall location of the fade Placing the cursor in that location and click dragging will re locate the fade sliding it earlier or later on the time line without changing the duration edit event or gain law Remember that you cannot move a fade past the head or tail of the underlying audio In position 3 the cursor is set for a duration change toward the outside of the Fade Placing the cursor in that location and click dragging will increase or decrease the duration of the fade without changing the o
101. mand arrow left Page 146 Zoom Around Out Point Zoom Around Edit Point Zoom Out Around Edit Point Zoom In Around Playhead Zoom Out Around Playhead Zoom to Previous Zoom to Next Zoom to Selection Zoom to Selection Zoom to Entire EDL Zoom to Time Line Selection Zoom to Waveform selection Track Prep Create Track Start Mark Create Track End Mark Delete Mark s System Preferences Select Nudge Size A Select Nudge Size B Select Nudge Size C command arrow right command arrow down command arrow up option arrow down option arrow up command P command option P command G command option click drag on waveform command E command click drag right on time line command option click drag on waveform F9 F10 command F12 command comma control 1 control 2 control 3 Page 147 Appendix 3 cccsccscessesessssseeesseseeseeeeees Contextual Menus Control Click In the Waveform With a selection active or on the selection s Drag Bar Move 5egments segment Gain Reverse Polarity Set Polarity Reset Polarity Build Waveforms Export Sound File Reveal Selected Segment Files in Finder Selection from Selected Segments With a segment selected Export Sound File Create Seqment Zoom To Selection DeClick Pitched DeClick General DeCrackle Light DeCrackle Medium DeCrackle Heavy Delete Marks Page 148 With Gain Overla
102. mark and process carefully selected small regions step by step instead of drawing one big selection around the critical area 4 In extremely difficult situations especially if you do not have enough clean material surrounding the unwanted noise we recommend using the copy and paste technique This method is also ideal for correcting timing problems in instrumental or vocal performance You can grab a whole tone and shift it a little bit backwards or forwards Page 138 5 RepairTool LE is also a perfect tool for improving distorted signals lt can remove distortions caused by overdriving analog equipment and works as an excellent de esser 6 If you cannot locate the disturbance you hear switch the spectrogram to a different Range 11 3 10 RepairTool LE Key Equivalents General space bar shift p command z shift command z shift c shift v toggles smoothing Zoom Of zoom torentive S 90m ef zoom fF by OK s myx S ee Presets accent circumflex set preset 1 amp ampersand set preset 2 asterisk set preset 3 Page 139 set preset 4 toad preset 1 load preset 2 Bo toad preset 3 oo toad preset 4 Play Cursor Placement set play cursor before selection 6 sec set play cursor before selection 3 sec set play cursor before selection 1 5 sec oo set play cursor before selection 0 5 sec Page 140 Appendix 1 Best Practices amp Maintenance A1
103. n ART will repeatedly play the entire Panel Repeat playback continues until you stop play with the menu command or by hitting the Spacebar 7 5 5 Stop All This command stops playback and or recording and is equivalent to tapping the Spacebar during playback or clicking on the Stop button in the Transport Bar 7 5 6 Mute Track This command mutes the selected track s panel in the Project window 7 5 7 Solo Track This command mutes the selected track s panel in the Project window 7 5 8 Monitor Input This command switches to listen to the input of the selected track s panel in the Project window 7 5 9 Monitor Output This command switches to listen to the output of the selected track s panel in the Project window 7 5 10 Record Arm This command sets the selected track panel s to record ready 7 5 11 Record This command puts ART into record mode Page 84 7 5 12 Around Selection Center This command plays a section of sound centered around a selected region When you choose Play Around Selection Center a submenu appears allowing you to select the length of playback time Around Selection Center p Play 0 5 Sec Play from Selection p Play 1 0 Play to End of Selection Play 2 0 Play 5 0 wa puli E Play Around 10 0 From In Point F6 Play 30 0 PEA r p Play Around Selection Center submenu 7 5 13 Play from Selection Like the Play Around Selection Center discussed in section 6 4 6 above
104. n 83 84 85 Move Playhead 86 Repeat Play 84 Selection 84 Stop All 84 to End of Selection 85 to In Point 84 to Out Point 84 Playback 133 Playhead 38 hiding the Playhead when stopped 87 moving the Playhead 86 Playing Auto Tools 104 Play From In Point 84 Page 157 Play From Playhead 84 Play From Selection 83 Play menu 83 Play Selection 84 Play to End of Selection 85 Play to In Point 84 Play to Out Point 84 PO 36 103 emphasis 88 90 PO Marks Analog BlackTo Marks 47 inserting automatically 47 manually 46 moving 46 removing 46 preferences Display Auto Tools 104 Playing Auto Tools 104 View 103 Preferences Window 105 preferences Default Fade 101 Editing Auto Tools 101 Edit with Audio 101 Preferences Window 100 Preset 114 Preview 114 Process 114 128 132 138 139 Project combo Text Waveform 54 Projects default 74 layout 33 new 73 open 35 73 opening 35 Panel 10 33 38 sample rate 59 punch in 67 Q Q Page 158 Quality Factor 118 Quality Factor 118 Quick Reference 131 132 Range 136 Recall 112 recording 61 Edit Recording 67 punch in 67 timed 68 Redo 77 Refresh 82 Relative 56 Remove Waveforms on Close 104 removing PO Marks 46 Repeat Play 84 Replace 97 Rescan lO 74 Resequence 52 re sizing 131 ReSynthesis 131 134 135 Reverse Polarity 57 79 root cosine Fades 51 root linear Fades 51 Save 112 Save As Default Project 74 75 Save Project 74 Save Project As 74 Scrolling 39 Move V
105. name artist name track name from a variety of sources then export them as AIFF WAV Broadcast WAV and CAF files The ART workflow ts e Record your analog source up to 192 kHz 32 bits depending on your Analog to Digital converter s ADC sample rate support OR e Drag and drop sound files into an ART Project Window e Editing Top and tail cut copy paste audio regions segments e Restore using NoNOISE presets e Track definition for export Album Artist Track Name Metadata tag e Export ART supports the complete workflow for archiving and audio restoration ART runs on any Intel based Apple Macintosh with OS 10 6 8 or newer Scope of this User Manual This User Manual describes the functionality of Sonic Studio s ART audio recording and restoration application w Notes Overview These notes add more information or reinforce concepts about a particular topic or subject Page 11 Learn Overview The learn notes are meant to provide how to or specifics about a topic or subject Page 12 Chapter 2 ccssssssssssaaaaeceees QUICK Start 2 1 Before You Begin 2 1 1 Mac System Requirements At a minimum ART requires the following e Apple Macintosh Intel Mac e 1024 x 960 pixel or larger display e 4 GB RAM minimum 8 GB or more preferred e OS 10 6 8 or newer e Internet connection for licensing e Optional Core Audio Input Output interface USB FireWire Thunderbolt S
106. nd Date Time fields can be filled with up to 22 characters The Description and Coding History fields each hold up to 120 characters The standardized contents of these metadata fields are stored in the header of the BWF file e Originator an ASCII string containing the name of the originator oroducer of the audio file e Reference Technically known as the OriginatorReference an ASCII string containing a non ambiguous reference allocated by the originating organization The EBU has defined a format for the OriginatorReference field For more information see EBU Recommendation R99 199912 e Date Technically known as the OriginationDate ASCII characters containing the date of creation of the audio file The format is yyyy mm dd yearmonth day Year is defined from 0000 to 9999 month is define from 1 to 12 day is defined from 1 to 28 29 30 or 31 while the separator between the items can be anything but it is recommended that one of the following characters is used 1 hyphen Page 65 2 B underscore 3 colon 4 Space 5 stop or period e Time Technically known as the OriginationTime ASCII characters containing the time of creation of the audio file The format is HH MM SS hours minutes seconds Hour is defined from 0 to 23 while minute and second are defined from 0 to 59 The separator between the items can be anything but it is recommended tha
107. nd bit depth you select Supports 44 24 and 44 16 and 48 24 A new folder is created for each conversion at the Path you define from Set Folder and titled 44 24 44 16 and 48 24 Since this action does multiple exports at the same time processing can take a while NOTE DitherType is set in Preferences Delivery tab NEW Shortcut ctrl cmd E for Export Tracks This command exports sound files in either AIFF WAV BWF format in 16 or 24 bit word length and CAF files in 32 bit format based on the Start Mark and End Mark It exports the audio between a Start Mark and End Mark as separate tracks with amplitude changes from segment gain plus any Gain Overlay or plug ins This is the same as option clicking the Export button Page 98 anor Export Tracks Amarra Vinyl Project Set Folder interleaved H ex He The Export Tracks Dialog Box Note the sample rate conversion options To use this function create a selection by either clicking on a segment s Title Bar or by click dragging in the top Panel to create a time region selection Make sure the top two Panels are assigned on the first two Desk Strips to M1 Out and M2 Out Then choose the destination directory with the Set File button Then set the file type word length and speed xa Learn About Dither Make sure to set dither to 24 bits for exporting files The Dither indicator in the top center section of the Project window shows green when
108. new folder ART Recordings or similar Page 17 5 Click New again to make another folder inside the ART Recordings folder This should be the title of the album you are going to record Dark Side of the Moon for example Your recorded files will be stored in this folder Click OK ANO Amarra Vinyl Demo 1 item 25 34 GB available AFO_36U6 pg Amarra time mov Li Amarra time mov zip D Volumes references CS Jonny and The Samples Volumes adeLibrary E Angel LFE 6 aif Applications E Amarra Vinyl Demo ho Desktop z amsu sl psd disk5 dmg Apple Audi staller pkg 3 Documents AURoundT component 3 Downloads Lal Chats saved G Dropbox gt E a CoFS Lfull t1 1 wav eLyric 1 El Delta Book a flight pdf E a O Mac Finder window showing example path for recording Back in the New Soundfile Preferences dialog box you need to define the bit resolution 24 bit is recommended and file type AIFF WAV CAF or BWF Broadcast Wave File Ww Learn See Appendix 1 2 page 141 for more information on ART Project Anatomy One advantage of using BWF is that you can specify the following metadata Originator you Reference information and a more complete description of the album you are recording AAOC New Soundfile Preferences Set Folder coa New Soundfile Preferences window showing additional fields for Broadcast Wave Files Page 18 2 2 3 ART
109. nformation Page 133 11 3 4 6 Copy amp Paste A selected area can be copied to another spectrogram position After clicking the Copy button or selecting Copy Area from the contextual menu it can be moved around with the mouse to the desired destination As long as the copy mode is active the field Type shows copy To paste the selected area into the desired location click the Process button or select Process from the contextual menu The marquee changes from white to blue To exit the Copy mode simply click outside the marquee The ReSynthesis Type will switch back to its previous selection and the marquee changes back to white The copy and paste function can be restricted to the original position in frequency if the shift key is held down while relocating the marquee This is very useful when the area to be copied contains material such as harmonics that needs to be placed in exactly the same frequency region 11 3 5 User Interface Details 11 3 5 1 User Interface Overview Repair Tool DN 1 Y J 1 595 s 11 45 kHz 87 5 Honzontal O Max 47dB Clicks 40 3008 70 O Gain Min 2 0dB Tones is 5 50 10cB 90 20dB Interpolation Gain Repair ro kU 2014 0 Serato LLC AT Rh Reosorrad Page 134 1 Interpolation 3 Repair Type 4 Cursor Values 5 Display Range 6 Stop Button 7 Play Button 8 Copy Button 10 Process Button 11 Undo Button 12 Redo Button 13 Cancel Button 1
110. ngs should generally be adjusted together for best results The 3 Noise NoNOISE button can help to determine an acceptable compromise setting 9 4 2 Atten Attenuation 6 This value in decibels sets the maximum attenuation to be applied A setting of 0 produces no noise reduction The higher or more negative this value is set the greater the reduction in noise but with increasing danger of producing audible artifacts in the audio signal Again Threshold and Attenuation settings should be adjusted together for best results Critical listening and use of the Noise NoNOISE button can help to determine an acceptable compromise setting If the maximum attenuation setting is too extreme ambience and or high frequency content may be lost Page 115 Chapter 10 c cesses SONIC ED The Sonic EO feature provides seventeen different types of filtering with some best used for restoration and damage control while other are excellent for changing color or timbre The EQ is available as an EQ function in its own window 10 1 Sonic EQ Pre processor 10 1 1 Overview The first instance of Sonic EQ processing to be discussed is the separate Sonic EQ form in a stand alone window As shown in figure 6 1 the processing for this form appears very early in the signal path just after segment and fade gain and before plug ins and the gain overlay It can be thought of as pre processing for your Project A Project must be open to use this form
111. ngs when repairing critical recordings e easy to learn identification and localization of unwanted audio events e efficient removal of unwanted audio events and their replacement by signals e re synthesized from the surrounding audio material e resizable and zoomable spectrogram window for sound repairing with surgical precision e multiple selections of harmonics and automatic identification of tones and clicks e audition of any selected area before and after processing e multiple undo functions e gain selective signal treatment e different types of interpolations e replacing one spectral region by another copy amp paste e no audible changes in desired signal and ambience after removing typical discrete audio disturbances 11 3 2 Typical Applications e Removing unwanted noises like sneezing chair squeaks coughing car horns fallen coins and keys ringing of a mobile phone etc e Correcting instrumental tracks by removing scratches from stringed instruments wrong notes rustle of sheet music keyboard pedal noise vocalist s breathing lip Smacks and microphone pops e Restoring old recordings by removing scratches and dropouts e Cleaning up environmental noise on location recordings for film and television 1133 Getting Started For Real LEARN Always work on a copy of your file Make sure to duplicate your original file in the Mac Finder Use that copy to perform your restoration Start RepairTool LE by click d
112. o step or cmd y be aware that after the RepairTool LE has been closed with Ok or Cancel all pending re do steps are no longer accessible 13 Cancel Button discards all signal modifications and exits the RepairTool LE window 14 OK Button accepts all signal modifications and writes processed audio material back to the file track 11 3 5 2 Menus A contextual menu opens after control clicking on the spectrogram oom oom Zoom Hor Zoom Vert Zoom Out Copy Area Process Figure 1 15 The spectrogram s contextual menu e Zoom This choice zooms in the selected area to the maximum dimensions limited only by the display size and spectrogram resolution e Zoom This choice zooms out trom selected areas e Zoom Hor This choice zooms in on the selected area horizontally only e Zoom Ver This choice zooms in on the selected area vertically only e Copy Area This choice copies the contents of the selected area allowing you to move it to another location in the spectrogram for later processing or pasting This is equivalent to the Copy button Once copied the marquee changes from black to blue and the entire selected areas can now be dragged around to relocate it in the spectrogram To limit movement of the copied area horizontally to accurately paste harmonic content for instance hold down the shift key before dragging Page 137 e Process This choice carries out the interpolation This is e
113. ogram 128 129 130 131 132 133 134 136 137 139 split stereo files opening 36 split stereo sound files 36 SRPs 73 clearing 91 setting 90 91 SRP from Segment Edit Points 91 SRP from Selection 91 Standard Large Track Size 82 Stop All 84 storage systems 142 System Information Console Log 74 75 Take 112 113 114 Text Mode Gain 55 Show Hide Text View 55 81 Threshold 112 114 115 Thunderbolt 13 Page 161 time code 39 time code address 39 time display 39 timed records 68 time line 33 39 40 46 Title Bar 42 55 75 97 99 Track Bar 52 103 Track End Mark 87 Track Start Mark 87 transport controls 34 triangular dither 142 Type 134 136 Undo 76 129 131 132 138 139 Unlock All Marks 88 Unlock Gain Node 59 Unlock Marks from Selection 88 vertical 128 131 133 138 View Background Waveforms 104 Remove Waveforms on Close 104 Show Segment Names 104 Zoom Factor 104 View menu 93 WAV 32 36 61 73 waveforms 36 39 94 104 refresh 82 scrolling 39 zooming 40 94 95 Waveform Mode 81 Windows Mark Info 96 Meters 96 Windows Menu 96 Page 162 Zoom 131 132 133 139 Zoom Factor 104 Zoom Hor 137 zooming 40 94 95 96 Zoom around Playhead 95 Zoom In Out 94 Zoom In Out around Edit Point 94 Zoom In Out around Playhead 94 Zoom In Around In Out Point 94 Zoom to Previous Next 94 Zoom to Selection 95 Zoom to Selection Start End 95 Zoom Ver 137 2009 2015 Sonic Studio LL
114. older and titled 44 24 44 16 and 48 24 Since this action does multiple exports at the same time processing can take a while NEW Shortcut ctrl cmd E for Export Tracks Step One Define the file to export by clicking on the Title Bar of the file This action selects your recording from beginning to end as one long track and readies it for export to your ITunes Library pa ide AZ 1 aif Side 42 2 aif 6060 5 94 Jan dbf 11 67 5 54 CO Waveform window showing sound file selection of the entire album side xa Learn More on navigating the ART Project window can be found in page 39 Navigating the Waveform Display Step Two Option Click on the Export button in the tool bar The Export Tracks dialog box appears Page 25 Export Soundfile Set Folder mm as Interleaved H ax e n Click the Set Folder button to define the location of the exported file Note the sample rate conversion options Create a new folder called Exports in the folder for this album to store these exports Click on the Export button and your tracks are quickly created and added to your iTunes Library Y Zl Note We recommend using AIFF as the Format and 24 as Bit Resolution 2 4 Step By Step Restore a Recording This section covers four basic steps to record and restore a recording In general you manually remove large clicks first then DeCrackle the en
115. om in using the Down Arrow key and zoom out using the Up Arrow key To zoom all the way out hit the E key to see your entire program 3 6 2 1 Zoom around Edit Point As you zoom in and out It Is likely that you will want to keep the Edit Point in view To do this hold down the Apple or command key as you use the Up Arrow or Down arrow keys This will keep the Edit Point centered in the middle of the display 3 6 2 2 Zoom to Selection Clicking and dragging on the waveform itself selects a region highlighted in yellow orange Typing command G or selecting View gt Zoom to Selection will zoom around that selected region See section 3 7 page 40 for more information on region selection You can also zoom to a selection while making the selection By holding down the command and option keys while click dragging on the waveform will define a selection and zoom to that selection as well 3 6 2 3 Zoom Around Time Selection If you click and drag in the black time line banner above the top Panel while holding down the Apple or command key the Panel will zoom to display the region of the time line that your click drag defined 3 7 Selections Selections let you highlight a portion of the audio where you want to perform a desired operation 3 7 1 Selecting a Region To select a region click drag on the waveform display At the point that you want the selection to start click and hold down the mouse button then drag to complete
116. on moves the defined item to the location shown in the dialog s time code address Clicking the Cancel button leaves the selected segments at their original position 7 3 15 Segment Gain This command invokes the Segment Gain dialog For more detailed information on the Segment Gain dialog See 7 3 16 Reverse Polarity The Reverse Polarity command inverts the polarity of the selected segment s in all selected Panels Segments with inverted polarity acquire a small bright red dot in the upper left corner of their Title Bar to visually remind you of their inverted status Note that to change the polarity relationship between a stereo pair this command Y must be applied to only one channel of the pair To do this change the Edit Group Selector of one Panel located on the left edge of both Panels from the default stereo setting to mono To read more about Edit Group Selectors refer to section 4 7 for more information 7 4 17 Nudge Segment Left Right The Nudge Segment commands move or nudge the selected segment s left or right earlier or later respectively on the time line by a predefined value The default Nudge B value used is Page 79 defined in the Time Display tab of Preferences window See section 6 9 5 for more information on the Time Display preferences 7 3 18 Edit Segment Name When a segment is selected choosing the Edit Segment Name command allows the user to edit the name of the segment as i
117. ontrols 112 Bright 132 Broadband DeNoise 10 111 BWF 32 36 61 64 96 98 Bypass Activate Gain Overlay 81 BType 107 Cc CAF 22 25 96 97 98 Cancel 132 CD R delivery 21 CD R delivery 26 Page 151 chair squeaks 129 changing Fade parameters 49 changing Fade shape 50 changing Fade type 51 Channel 139 Clear Selected SRPs 91 Clear Selection 78 clocking 35 74 Close Window 73 combo Text Waveform Project 54 Console Log 74 75 Copy 77 134 136 137 Copy Area 134 137 cosine Fades 51 coughing 129 Create Crossfade 78 Create Crossfade from In Point 78 Create Gain Nodes 82 Create Segment 78 Create Segment from In amp Out Points 78 crossfade 51 Crossfades 44 deleting 79 Cursor 140 Cut 77 DDP file sets opening 35 36 DeClick 10 26 28 29 34 106 108 DeCrackle 10 24 26 29 30 34 106 Default Fade 101 default Project 74 Delete Crossfade 79 Delete Mark 87 Delete Selection 77 78 deleting part of asound file 44 DeNoise 10 30 111 dim 70 DiskWarrior 142 Display Auto Tools 104 Page 152 dither 2nd order 142 PDF 142 triangular 142 Drag Insert amp Ripple 54 Drag Overlay 54 Drag Replace 54 drag 8 drop 52 ReSequence 52 Drag Bar 53 Drop Edit Point at Playhead 91 Dual EDL Mode 59 Edit after Export 97 Edited Black to Marks 89 Edited Black to Start Marks 89 editing 78 Auto Space All Segments 80 Auto Tool Override 80 Clear Selection 78 Create Crossfade 78 Create Segment 78 Create Segment from In
118. or command key while modifying the Fade In With these modifier keys the Fade Tool works as if the fades were isolated as described in section 3 8 1 above While operating on one fade of a Crossfade individually with modifier keys the fade not being manipulated will deselect indicated by its color changing to black If you decide that default duration of your crossfade is not right simply hold down the shift key and place the cursor over the center of the crossfade until the cursor changes into the pair of parallel horizontal arrows Click drag up or down and the duration will increase or decrease respectively Note that to be able to do any of the above fade manipulations with accuracy it Y may be necessary to zoom in until the Crossfade extends over a significant proportion of the waveform display The View gt Zoom To Previous command will zoom you out to your previous view quickly after such fine adjustments 3 8 5 Exporting Selections Tracks amp Segments Selections including both selected segments and selected regions can be exported as AIFF WAV or BWF files with source resolution of up to 192 kHz sample rate and 16 or 24 bit word length To do this use the Export button It exports the audio with amplitude changes from segment gain plus any Gain Overlay and NoNOISE processing To use this function create a selected region Then click the Export button and choose the destination directory with the Set file button Final
119. ou can save your edit decisions without committing them back to a DDP file set The Project file saves all segment names SRPs marks and edits and they are all restored upon re opening that Project Selecting File gt Open Project brings up a standard Mac OS file browser Locate the requested Project file and select it to open the Project in a new window 7 2 3 Open Recent With this menu a list of recently opened Projects and sound files is shown Selecting one of those files will re open it If you hold down the option key prior to accessing this menu command it divides the resulting list into Project files first and sound files second with a divider in between The files appear in the list with the most recently used files at the top in the order they were opened Finally if you select a sound file from this menu without any target Projects open ART will create a new default Project and open the sound file into that Project 7 2 4 Open Sound File This command opens a Mac OS file browser allowing you to select any sound file recognized by ART This includes AIFF WAV and BWF files along with SD2 or Sound Designer II files with region definitions See section 6 9 4 4 for more information on importing SD2 files ART is also able to open audio files by dragging and dropping the files into the top Panel of a Project 7 2 5 Close Window This command closes the currently active window This can be a Project the Mark Info window
120. passband gain but the phase response will suffer the group delay will be severe and the resulting temporal smearing may be unacceptable As with any filter careful listening will determine the trade off between stopband suppression and side effects Figure 10 8 below shows an typical 3rd order high pass filter Superimposed on that curve is another 3rd order high pass with 6 dB of passband ripple amp 120 dB of stopband attenuation Notice the rippling bouncing ball amplitude response in the region above the resonant frequency This passband ripple would create some possibly undesirable amplitude effects but because the ripple spec has been relaxed the phase response would be improved EO Transfer Function 3rd order high pass with 6 dB of passband ripple amp 120 dB of attenuation Compare the response in figure 10 8 with the next figure which shows a 3rd order high pass with 0 10 dB of passband ripple 10 dB of stopband attenuation This time the stopband ripple would allow some material below the resonant frequency to leak into the filter s output Again however because the ripple spec has been relaxed the phase response would be improved Page 122 EO Transfer Function 3rd order high pass with 0 1 dB of passband ripple amp 10 dB of attenuation The bandpass and band stop filters are straightforward three parameter forms and the notch filter has only two parameters as the gain is implied to be T
121. phasis and De emphasis e DC Removal e DC Removal AES EBU De emphasis The parametric filters are classic three parameter versions with Resonant Frequency gain and Q Q or Quality Factor is defined as the resonant frequency or center frequency in the case of a symmetrical filter divided by the bandwidth The bandwidth is in turn defined as the one or two frequencies at which the filter response is 3 dB up or down from unity gain Expressing the width of a filter as a Ouality Factor rather than bandwidth provides a more intuitive sense of the filter s subjective sound since the same value of O will produce different bandwidths at different frequencies The higher the frequency the wider the bandwidth will be for a given O value which roughly corresponds to our auditory mechanism s ability to perceive a filter s action As an example a parametric filter with a Q of 1 has a bandwidth of 100 Hz when Page 118 its center frequency is set to 100 Hz but it has a bandwidth of 1000 Hz when the center frequency is set to 1000 Hz The order or slope of the filter is controllable with 1st through 4th order or 6 to 24 dB per octave slope respectively Each of the four orders are separate menu choices The family of curves shown below include a wide O of 0 5 a medium O of 2 0 and a narrow O of 10 EO Transfer Function Ist order parametric with f of 1000 Hz EO Transfer Function 2nd order parametric with f of 1000
122. ppears i Ar DeNoise The DeNoise Window Learn more about using Broadband DeNoise in Chapter 9 below Step 5 Export Processed File Refer to Section 2 3 above for step by step Export instruction W Learn More on Exporting can be found in Exporting Selections Tracks amp Segments Page 30 Page 31 Chapter 3 cseeee BASIC Operation 3 1 General Workflow amp Explanation of Terms Used In order to prepare your recorded audio ART offers fast simple audio editing along with creation and modification of metadata such as album title artist etc ART is designed to primarily create finished stereo programs ART includes an integrated recording scheme to allow high resolution recordings up to 192 kHz from external analog to digital converter ADC or internal hardware ART provides complete flexibility for recording When opening a sound file into ART you are creating a copy of the file in memory that you can manipulate This copy is placed into a Project the workspace created by ART Within the Project you can add sound create and edit marks that will generate Track codes modify volume levels restore your recordings using NoNOISE and export those changes as new files All this information can be saved and later recalled Raw sound files can be imported from various file formats including AIFF WAV BWF and a variety of compressed files MP3 AAC and FLAC These files are then edited allowing you to
123. probably using Threshold or Attenuation settings that are too aggressive Also it s fairly easy to misinterpret noise as high frequency content so critical listening with a wide band speaker system or quality headphones are required for proper operation 9 2 The Noise Estimate The first step in denoising is to derive a Noise Estimate from the material to be processed The Noise Estimate or simply Estimate is an individual fingerprint of the noise and determines local threshold values for each frequency bin The BBDN user interface provides a group of commands for creating processing editing and storing the Estimate The Estimate determines the result of the entire denoising process so it is important to ensure that the estimate taken is valid and represents the true noise floor of the source sound file 9 2 1 Noise Estimates The procedure for taking a usable Estimate has several steps First open the source sound file into either ART then open the BBDN plug in Next identify a short section of audio where there is only noise or predominantly noise About 0 3 to 0 5 seconds is sufficient Set the playback cursor to a few seconds before the section you ve identified as noise Start playback and as the play head move over the noise segment press the Take button once That action automatically interpolates the Estimate applying Bin Controls which are individual threshold controls for separate regions of the frequency spectr
124. quivalent to the Process button or hitting the P key on the keyboard 11 3 6 A pplication Tips RepairTool LE is an easy to use tool even if at first glance you may feel uncertain because of the unusual interface However after reading the Getting Started chapter you will be able to carry out repairs with speed and quality you have never experienced before This section gives you just an overview of the RepairTool LE functionality but there are still a lot of tricks and secrets allowing previously impossible sound repair operations Indeed it is very difficult to formulate general statements on how to proceed Every impairment in connection with specific audio material you want to retain creates a unique situation We recommend you spend some time trying to localize and remove certain audible features or copy audio events to other destinations Together with all zooming resizing and precise playback cursor placing possibilities you ll get a good feel for controlling RepairTool LE in a short time Below are some additional remarks which may help to speed your learning process RepairTool LE repairs are always undo able at any time by selecting NoNOISE Il gt Restore Click However before loading a sound file to be processed we recommend you always make a backup of your original audio material to have the opportunity to start again if for any reason the NoNOISE metadata the cd and rl files are lost 1 For removing t
125. r Exponential provides very rapid reduction in gain across the fade Set Fade to Fade In Out Crossfade change the fade type to one of the default fade types Set Fade To Selection Sets the fade duration to match the current selection Set Fade To Default Fade In Out Crossfade changes all fade parameters to the Default Fade s characteristics On a Track mark Hovering over a mark Page 149 Move Edit PointTo Mark Moves Edit Point to this mark Lock Mark Locks this mark UnLock Mark Unlocks this mark Lock Marks From Selection Locks these marks UnLock Marks From Selection Unlocks these marks Lock All Marks Locks all marks UnLock All Marks Unlocks all marks Set Emphasis Sets the emphasis bit for this mark Reset Emphasis Disables the emphasis bit for this mark Delete Mark Deletes this mark Page 150 Note that for the PDF version of this Index only the page numbers not the preceding descriptive subject text are hyperlinked AudioRepaitr Toolkit 1 0 User Manual Index Symbols 3D 128 Absolute 56 Accept 132 Accuracy 131 AIFF 36 61 96 98 AIFF export 45 Analog BlackThreshold 101 Analog BlackTo Marks 47 88 Around Selection Center 84 85 Audio MIDI Setup 61 62 63 64 66 Audio MIDI Setup 74 AutoSpace All Segments 52 80 AutoSpacing 54 AutoSpacing Duration 101 Auto Space All Segments 80 B Background Waveforms 104 BBDN 30 111 112 113 114 Bin C
126. r your Series 300 I O Processor Audio can be recorded directly into any Panel in either mono or stereo _ Note that audio is recorded as non interleaved files when recording in AIFF or BWF Y format 5 1 Four Steps to Recording 1 Open a new Project Audio can only be recorded in Panels so a Project must be open Choose File gt New to create a new Project or File gt Open to open an existing Project By default ART records external audio from the first two input channels of the active interface as defined in OS X s Audio MIDI Setup utility 2 Set Recording Parameters Choose Windows gt New Sound file Preferences Set the destination directory filename word length and file type for the sound file you wish to record See section 5 2 1 below for more information 3 Record Enable Panels Record Enable the desired tracks for recording To do this click on the R button in the upper left corner See section 5 2 2 for more explanation 4 Start your recording Initiate the recording of audio To do this use the Transport Controls at top left of the Project Clicking on the green record button will start a recording See chapter 5 2 3 for more information Page 61 5 2 Audio Recordings 5 2 1 Selecting external input s By default ART can record audio from the first two available inputs of the interface currently configured as input in Audio MIDI Setup However ART can be configured to record from any valid input sou
127. ragging a time region selection in a Project s Panel Make sure the section is bigger than the actual noise Page 129 l 1d I a l 1 i 1 l 1 I 1 00 40 00 00 50 00 07 00 00 01 10 00 01 20 0101 Audio Track copy aiff 1 k Audio Track copy aiff 1 Segment selection for repair Make sure the selection is larger than the event Then click the Repair button to start the processor After you have selected a segment to be processed the RepairTool LE window pops up and shows the spectrogram of both the left and right channel Repair Tool 17 905 242 kHz 90 2 ae 40 3008 70 Horizontal Max 7dB Clicks Vertical Mid Ode Mix os 1 AY 50 200dB 80 10 dE Gain Min 20dB Tones REOTN THESIS ci DISPLAY 50 10cB 20 20 dE Range _ Interpolation o Gain Repair 2014 6 Sease tuda LLC AN Rights Reserved OS Anomalies are clearly displayed in RepairTool LE Page 130 The maximum length of audio files loaded into RepairTool LE is dependent on your host s computational power and RAM complement the required spectrogram resolution and sample rate for the source sound file If you experience any performance problems with long files cancel out of RepairTool LE and shorten the time region selection Though Repalrlool LE processing is undo able at any time we recommend you always make a backup of your original audio material to have the opportunity to start again if for any reason
128. ransient disturbances like clicks use the hor horizontal interpolation type and for removing longer tones or harmonics use vert vertical interpolation type The interpolation types left or right are a special form of hor and should be used if one side of the disturbing click is not suitable for proper interpolation such as when the material includes a strong percussive beat Similarly the top and bottom are a special form of vertical interpolation and should be used if one side of the impairment includes strong tones or harmonics However note that the results of one sided interpolations are not as accurate as symmetrical repairs 2 Be aware of the proper selection of the Interpolation parameter n general removal of short disturbances should be done Clicks mode while a frequency selective interpolation like removal of discrete tones or harmonics requires Tones selection In intermediate cases Mix can help In difficult situations e g short and loud caught with low frequency reverberation a step by step removal process with different profiles works better Instead of wide vertical area selection begin with a narrow one to concentrate on the main energy and then continue with a wider horizontally but vertically smaller selection to remove the reverberation part For the first step select Clicks and for the second step Tones 3 If the disturbance is a wideband signal that strongly overlaps with the signal you want to retain it helps to
129. rce by means of the Windows gt Audio l O Preferences window Set Analog Set Digital The Audio I O Preferences window The bottom half of this window shows the currently active audio interface as selected in Audio MIDI Setup Page 62 Note that virtualized or aggregated devices as defined in OS version 10 4 and Y higher appear as one recording interface In the area of the audio interface icon the line inputs L1 to Ln are shown together with a drop down menu selector When one of the line input selectors are clicked a list of all available inputs for that selected audio interface are shown Selecting any available input from the audio interface re maps that input to ART s inputs used for recording external sources It also relabels the output bus assigns on the Desk None Input selectors ART s clock source should be checked as well To do so select either internal or external from the Master Clock source selectors Clock source selection In addition the sample rate must be set to match the incoming clock source even when an external clock source is selected Internal 44100 0 Hz Internal 48000 0 Hz Internal 88200 0 Hz Internal 96000 0 Hz Internal 176400 0 Hz Y Internal 192000 0 Hz Sample rate selection The settings in the Audio l O Preferences window reflect the settings in Audio MIDI Setup at the instant you open the Audio I O Preferences window However the
130. rd audio into a computer some organization is required prior to recording each album To set up recording in ART you need to first define a recording location or path Page 16 2 2 2 1 Recording For The First Time Clicking the Record button for the first time brings up these two dialog boxes Can not start recording Please set New Soundfile Preferences before No tracks are armed for recording Recording Click Yes to Arm Tracks and Start Recording Click Yes to open New Soundfile Preferences Click Yes button to automatically Arm tracks Click Yes button to define recording location for recording AAOC New Soundfile Preferences Set Folder New Soundfile Preferences Click Set Folder For subsequent recordings 1 Click on the Windows navigation menu at the top of the ART screen and select New Soundfile Preference or Cmd 7 to bring up the Recording Preferences Window Meters a6 1 Equalizer db 2 New Soundfile Preferences Export Sound File ed Export Tracks EE s Set Folder Folder Sample Rate Conversion a6 6 New Soundfile Preferences Preferences 8 Amarra Vinyl Project New Soundfile Preferences 2 Click Set Folder to define the location on your Mac to record your audio A Mac Finder window appears 3 Make a new folder on your Desktop or other location of your choice where you want to record by clicking on the New Button 4 Title the
131. rent settings and to the right of that is the Group menu Clicking on the Type menu the call out field or the Group menu selects the respective section Page 117 10 1 2 4 Group Menu The Group menu lets you group or link sections together This allows you to apply the same processing to more than one track without recreating redundant settings Say you want a 1st order Parametric across 6 tracks in an EDL Set up the parametric in the top section then assign it to Group A Then using the Track menu go through all the other tracks and assign their top sections to Group A as well The settings for your 1st order parametric will appear for all tracks and if you change any member of the Group all the other members of the group will update accordingly 10 1 2 5 Bypass To the right of the Track menu and all sections are Bypass buttons As expected they disable or bypass processing The Bypass button to the right of the Track menu is global and bypasses the entire EQ The individual Bypass buttons to the right of each section are local and apply only to that Panel track and that section 10 1 2 6 Parameters The bottom half of the Sonic EQ window contains the parametric controls The controls are context sensitive and apply to the selected filter section Available filter types are e 1st 4th Order Parametric e High amp Low Shelt e High amp Low Pass e Bandpass Bandstop e Notch RIAA Emphasis and De emphasis AES EBU Em
132. rn key to close Page 23 Step Two Option Click on the Export button in the tool bar The Export Tracks dialog box appears ADO Export Tracks Amarra Vinyl Project Set Folder BTE Export Click the Set Folder button to define the location of the exported file Note the sample rate conversion options Create a new folder called Exports in the folder for this album to store these exports Click on the Export button and your tracks are quickly created and ready to import into your lunes Library W Note We recommend using AIFF or BWF as the Format and 24 as Bit Resolution vr Learn More on Exporting can be found in Exporting Selections Tracks amp Segments page 96 page 98 vr Learn More on Selecting sound segments in ART can be found on page 40 syria Learn More on Editing sound segments in ART can be found on page 42 Simple Editing ONG Learn More on using Track Marks in ART can be found in the Section on Track Marks Defining Metadata page 46 Page 24 2 3 2 How To Export Your Recording as One Long File Learn ART 1 0 now supports sample rate conversion and 32 bit CAF file support when using the Export Tracks or Export Sound File commands This feature creates multiple files at the same time based on the sample rate and bit depth you select Supports 44 24 and 44 16 and 48 24 A new folder is created for each conversion at the Path you define from Set F
133. rs two options that are part of the larger NoNOISE ll family The DeClick option precisely removes scratches impulse noise analog or digital overloads harmonic and intermodulation distortion The DeCrackle option removes the noise associated with the surface noise on a Vinyl record or general distortion Note The ART restoration tool set includes the Manual DeClick tool DeCrackle tool Sonic EO and a high quality Sample Rate Conversion utility Note DeClick first and DeCrackle last Important Note the DeClick and DeCrackle interpolations are destructive in nature This means that the file that these interpolations are applied to are altered from their original state lt is important that your make a duplicate of any file that will have the interpolations listed below applied to them Simply find the file in the Finder select it and hit Cmd D 8 2 3 Basic Manual DeClick DeCrackle The ART version of NoNoise Il option provides a smart tool for isolating and removing individual transient impairments in a sound file Manual DeClick assists in removing unwanted noises such as clicks pops and thumps The algorithm analyze audio on either side of the anomaly and based on this information synthesizes replacement samples Manual DeClicking substitutes the repaired samples for the original program material ART also includes a entry level version of DeCrackle an algorithm that reduces surface noise on mechanical recordings and distortion
134. s There is an excellent article from the folks at tekreview com with more specific instructions on troubleshooting Spotlight http www tekrevue com tip three ways to prevent spotlight from indexing items on your mac For OS 10 6 and later this text can be typed into the Terminal Application sudo mdutil a i off Page 144 Appendix 2 concococccccicinconcincincrncrnrzzrzoe Keyboard Shortcuts Windows Shortcuts Meters Desk Console Log Preferences File amp Project Shortcuts New Project Open Project Save Project Close Window Open Sound File Quit application Playback Shortcuts Stop Start Playback from Edit Point Play Selection Play from Playhead Repeat Play Hide Playhead When Stopped Editing Shortcuts Undo last Edit Redo last Undo Select All Deselect All Cut Copy Paste Replace Paste Insert Paste Constrained Paste Overlay Select All command 1 command 4 command comma command N command O command S command W shift command O command Q spacebar command spacebar option spacebar command option spacebar option P command Z command shift Z command A command D command X command C command V command option V command shift V option V command A Page 145 Deselect All Delete Selection Clear Selection Create Crossfade Create Crossfade from In In amp Out Point Nudge Selected Segment s Find amp Set
135. select Mark gt Track Start Mark which adds the new Start of Track mark 3 9 2 Moving Track Marks It s easy to relocate Track marks Simply click drag on a mark to move it to the desired location 3 9 3 Removing Track Marks To remove one or more Track marks click drag in the waveform display to select a region that includes the mark s you want to remove Then select Mark gt Delete Mark and all marks within the selected region will be deleted If you are working in the Windows gt Mark Info window and have a mark selected you can also use the Mark gt Delete Mark command to remove the mark Page 46 A third method is to use the contextual menu to delete or otherwise modify a mark Simply control click on a mark and make your selection from the menu 3 9 4 Inserting Track Marks Automatically 3 9 4 1 Command Dragging The fastest and easiest way to generate Track metadata is to simply drag and drop By holding down the command key before dropping one or more sound files onto the top Panel of your Project ART automatically creates CD Track definitions by generating Start and End of Track marks for each file These Track definitions can later be rearranged or modified to taste 3 9 4 2 Analog Black To Marks If you material consists of one long consolidated file with few or no edits then you may want to automatically place Track marks with the Analog Black to Marks function This function measures the amplitude of your audio
136. selection to the Clipboard 7 3 5 Paste Replace Insert Overlay The Paste command inserts the content of the Clipboard into the Project replacing in order of choice either 1 A region within Edit Points 2 selected regions or segments 3 From the Edit Point position for the duration of the audio currently of the Clipboard The inserted content is placed between Crossfades and the Edit Point is moved for visual reference to the end of the inserted material 7 3 6 Select Deselect All These commands select or deselect all segments or regions in the current Project 7 3 7 Delete Selection lf a region or segment is selected this command will delete the defined item It will then slip or move left any audio after the deleted region or segment filling in the space formerly occupied by the selected segment or region A Crossfade is placed to transition across the deletion Page 77 Note that as with all editing in ART if both an In and Out Point are present and the Out point is after the In Point then they take precedents over both selected region and segments If only an In Point is present then the command will not work Finally if both an In and Out Point are present the Out point is after the In Point and the edit points are inside Edited Black the empty area between segments then that region defined by the edit points will be deleted and downstream audio will be moved left 7 3 8 C
137. so via a segment s Title Bar contextual menu Control click on any Title Bar to Page 55 invoke the Segment Gain dialog Other functions like Reverse Polarity and Build Waveforms are also available As with other modal dialogs in ART gain changes will not be applied unless the OK button is clicked Segment Gain A Cancel OK The Segment Gain dialog The Segment Gain dialog offers several options for altering segment gain It also provides polarity inversion The large central field lets you enter gain directly Alternatively course and fine adjustments are available via up down arrows Simply click the arrows to increment or decrement gain in 1 0 or 0 1 dB steps Segment Gain can be applied in two different ways First it can be applied as an Absolute value meaning that the entry in the gain field will be applied in place of any previous value The value entered in the gain field will replace any previous state ignoring the existing gain of that segment Alternatively the gain can be applied as a Relative value In relative mode the entry in the gain field will be added to or subtracted from the previous value Positive values will be added to the previous state while negative values will be subtracted from the previous gain state A third Normalize radio button is available Choosing this option will cause the segment s absolute sample amplitude to be evaluated after which the amount of headroom or
138. t appears in the Title Bar and in Text Mode view As with all actions in a Project changing the Segment name has no effect on the underlying referenced sound file This command ts equivalent to double clicking on the Title Bar to change a segment s name 7 3 19 Editing Auto Tool Override This commands toggles the Editing Auto Tools state either enabled or disabled See section 6 9 6 for more information on the EDL preferences 7 3 20 Auto Space All Segments Tracks The AutoSpace function offers a simple but effective tool to change all pauses between tracks to a pre defined value Simply select Edit gt AutoSpace all Segments and all segments will be moved on the time line with equal space between according to the Preference gt Editing Tools gt AutoSpacing Duration setting If you have Track marks already placed in the Project the command name changes contextually from Auto Space All Segments to Auto Space All Tracks See sections 3 8 6 and 4 2 1 above for practical discussions about the autospacing function Page 80 7 4 The EDL Menu Show Text View XT Hide Gain Overlay XG Bypass Gain Overlay Create Gain Nodes Select Gain Nodes Refresh HER Show FFT View EH Standard Track Size 6 Large Track Size wi The EDL menu 7 4 1 Show Hide Text View The Show Hide Text View command toggles the display of the selected Panel between Text Mode and Waveform Mode views 7 4 2 Show Hide Gain Overlay This command forc
139. t is represented in the waveform display as an overlapping Fade In and Out The delete functions mentioned above also work with one or more selected regions Simply click drag to select a region and hit delete or option delete Page 44 3 8 3 Splitting a segment into new segments Occasionally existing segments need to be split in separate segments before further editing can be performed This can be achieved by manually creating a new Crossfade within a segment To create a new Crossfade simply place your cursor at the desired location and double click This moves the Edit Point to the click location Then select Edit gt Create Crossfade from the main menu A new Crossfade is created at the location of the Edit point Also see section 3 8 2 above for information on deleting segments 3 8 4 Manipulating Fades With Crossfades the Fade lool can also be used to modify or move the fades either as a complete Crossfade or as individual Black Fades When the cursor is moved over a Crossfade it changes into a pair of parallel horizontal arrows The Fade Out changes to red while the Fade In changes to green To move the whole Crossfade either left or right once again hiding and revealing audio on either side simply click and drag the Crossfade to the desired location Release the mouse button to drop the Crossfade at a specific spot To modify the fades individually press the option key while modifying the Fade Out and the Apple
140. t one of the above characters e Description An ASCII string containing a un formatted description of the sequence To help applications which only display a short description It is recommended that a resume of the description is contained in the first 64 characters and the last 192 characters are use for details e Coding History The Coding History field is usually filled in and appended by any application that creates and subsequently modifies a BWF sound file Finally the optional Edit Recording check box enables files to be opened while their recording is in progress This feature allows you to begin marking and making other editing decisions while a recording progresses See section 5 2 6 below for more information Note that the sample rate of the sound file to be recorded is not set via this window Y It is set in your host s Audio MIDI Setup See section 5 2 1 above for more information 5 2 3 Track arming and enabling recording To prepare audio for recording any track you want to record audio into must be enabled or armed first To arm the desired Panel s click on the Record Ready button labeled R on the left of the corresponding Panel To disarm a Panel simply click the Record Ready button again and the Panel will return to Safe mode again Y HINT Option Clicking on the Record button enable both tracks with one click 5 2 4 Initiating a recording To initiate a recording click
141. t the prior written permission of Sonic Studio LLC Notice of Liability The author and publisher have made every effort to ensure the accuracy of the information herein However the information contained in this document is provided without warranty either express or implied Neither the authors Sonic Studio LLC nor its dealers or distributors will be held liable for any damages to be caused either directly or indirectly by the instructions contained in this book or by the software or hardware products described herein SONIC STUDIO LLC MAKES NO WARRANTIES EXPRESS OR IMPLIED INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE REGARDING THE APPLE SOFTWARE SONIC STUDIO LLC DOES NOT WARRANT GUARANTEE OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SONIC STUDIO LLC SOFTWARE IN TERMS OF ITS CORRECTNESS ACCURACY RELIABILITY CURRENTNESS OR OTHERWISE THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF THE SONIC STUDIO SOFTWARE IS ASSUMED BY YOU THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES THE ABOVE EXCLUSION MAY NOT APPLY TOYOU IN NO EVENT WILL SONIC STUDIO LLC ITS DIRECTORS OFFICERS EMPLOYEES OR AGENTS BE LIABLE TO YOU FOR ANY CONSEQUENTIAL INCIDENTAL OR INDIRECT DAMAGES INCLUDING DAMAGES FOR LOSS OF BUSINESS PROFITS BUSINESS INTERRUPTION LOSS OF BUSINESS INFORMATION ANDTHE LIKE ARISING OUT OF THE USE OR INABILITY
142. te 1 of 2 selected 8 39 GB available E i Mac OS browser dialog for opening a Project Page 35 After highlighting your selection and clicking Choose the Project will be opened together with any available editing and Track metadata already saved in the Project folder A third way to open an existing Project is by using the Finder Simply drag the file from any folder onto the ART application icon or if the application is running the application s Dock icon 3 3 2 Opening Sound Files Once your Project is open you need to open your sound files into the Project As with Projects using either the File menu or dragging and dropping will work By holding down the command key when dropping in sound files ART will autospace the new segment as well as auto generate Track metadata Section 3 9 4 page 47 discusses the auto generated Track metadata while section 4 2 1 page 52 below discusses autospacing functions in detail By selecting File gt Open Sound File from the menu bar you will bring up a standard Mac OS browser dialog for finding and selecting the desired audio file ART will open AIFF WAV BWF and SD2 files with regions Confirm your selection with Choose and the sound file opens into your Project 3 3 3 Adding Your First Sound File In addition to the Open Sound File command you may also drag and drop sound files into a Project When dragging in split stereo sound files always drag only the left channel onto
143. terial A repair using the DeClicker 8 2 3 3 The DeCrackler The DeCrackler is quite different from the Declicker It is designed to reduce all kinds of distortion and unlike the DeClicker is implemented so it can be applied to passages of unlimited duration You may have to wait a while for your result but it is worth it The DeCrackler is capable of reducing distortion including offensive harsh sounding material lts micro repairs leave the audio sounding better without resorting to low pass filtering AN Hi BAL UA AUR hi W Ai at d i ji li Le l hy i i i i r Mt AN y j A ea Ay The DeCrackler s micro repairs 8 2 3 4 Using DeClick and DeCrackle Either channel of a stereo pair can be operated on the repair will be performed on both Either DeClick algorithm can perform stereo or mono repairs Page 108 Using the Waveform display and playback identify the location of an impairment Zoom in until you can clearly see the impairment 1 Place an Edit Point over the click or crackle Click on the appropriate button to repair 2 Click drag in the Panel to create a time region selection that fully contains the damaged samples Click on the appropriate button to repair 3 Click drag in the Panel to create a time region selection that fully contains the damaged samples Control click to reveal a contextual menu with restoration options for your selection Export Sound File Create Segment Zoom
144. the Record button in the Transport Controls to start the recording The Playhead starts at the beginning of the time line or at the Edit Point if present The Record buttons turns red recording begins and the backgrounds of the Panels in record along with their corresponding Record Ready buttons turn red while the cursor changes to a microphone symbol Page 66 A Panel in record mode showing the microphone cursor Once the recording is stopped by either hitting the space bar or the Stop button in the Transport Controls the newly recorded audio segment s are shown in the Panel s while ART generates waveforms in the background If recordings replace any existing segments in the Panel the original segment will be joined to the new recording with a default Crossfade Note that any existing SRPs Track Marks or Gain Overlay nodes will be deleted by a recording Since recording is non destructive any existing audio segments in a Panel that seem to be overwritten during recording are not physically erased from your designated volume only the Edit Decision List has been modified They can be reopened at any time Alternatively the original state of the Panels before the recording was started can easily be restored with the Edit gt Undo command 5 2 5 Manual punch in It is also possible to punch in audio at any desired location within a Panel while playback is in progress To punch into record first arm the P
145. this command requires that you first select a region Also this command offers a submenu with duration choices for playback Unlike Play Around Selection Center this command begins playback at the left edge of the selection and continues for the specified duration Around Selection Center Play from Selection Play 0 5 Sec Play to End of Selection Play 1 0 q Play 2 0 To ln pal F5 Play 5 0 From In Point F6 Play 10 0 To Out Point F Play 30 0 From Out Point Fe Play from Selection 7 5 14 Play to End of Selection This command is the opposite of the Play from Selection command discussed in section 6 4 7 above except that playback ends at the trailing edge or right side of a selected region If there is Page 85 not a selected region playback ends at the Edit Point This command also offers a submenu with a number of choices for the duration of the playback Play from Selection gt HN Play to End of Selection To In Point F5 From In Point F To Out Point F7 From Out Point FS Play between In Out Points F5 Play to End of Selection submenu 7 5 15 Move Playhead Play 0 5 Sec Play 1 0 Play 2 0 Play 5 0 Play 10 0 Play 30 0 This command lets you place the Playhead at a specific location on the time line When you select this menu item the Move Playhead modal dialog appears Move Playhead 00 00 00 00 The Move Playhead dialog When you enter a new time code address in the Move P
146. though it is possible to select a destination for your sound files on external direct attached or network attached volumes this is no guarantee It will work flawlessly Please check that the necessary Quality of Service is supported throughout the entire virtual path to the selected volume This is especially true of USB attached mechanism USB may not be suitable for high resolution audio production Next the default sound file prefix can be set in the Name field Recorded sound files will be collectively placed in a folder carrying the same name as the sound file prefix Additionally in the Take field a numeric take number suffix can be entered that will be incremented for subsequent recordings creating unique names for each file The word length and file type for the recording should also be set via the appropriate drop down menu You do not have to close the New Soundfile Parameters window to save your settings When selecting BWF as recording format the New Sound file Parameters window is extended by some extra fields Page 64 Recording Preferences PATH HotWheels SSLLCDOCS Here Test Set Folder Name Very Special Sounds E Edit Recording Incr Skip Bit File Take 1 Take Ad Take MB Resolution oa Type oo Originator Amarra VINYL Reference Date Description The New Sound file Parameters window for Broadcast Wave BWF recording format The Originator Reference a
147. tically 47 manually 46 installation 13 interpolation 127 131 132 135 136 138 Interpolation 112 Interpolation Algorithms 107 iTunes 14 21 23 24 25 26 Key Equivalents 139 LEARN 128 129 linear Fades 51 Lock All Marks 88 Lock Gain Node 59 Lock Marks from Selection 88 M1 4 99 Page 155 Mac OS 142 maintenance DiskWarrior 142 file systems 142 permissions 143 storage systems 142 Marking 132 Marks Analog Black to Marks 88 Delete Mark 87 Edited Black to Marks 89 Edited Black to Start Marks 89 End of Track 87 89 locking Marks 88 Mark Info 87 Start of Track 46 52 89 unlocking Marks 88 Mark Info 87 96 Mark menu 87 Master Section dim 70 hot spots 69 metadata waveform 75 meters 96 Meters window 69 mono editing mode 96 Move Edit Point to submenu 91 Move Playhead 86 Move Segments 79 Move View mode 40 moving PO Marks 46 New Project 73 Noise Estimate 112 NoNOISE 3 111 112 114 NoNOISE ll Bin Controls 112 Broadband DeNoise parameters 114 Threshold 114 B Type 107 Page 156 E Type 108 interpolation algorithms 107 noise Estimate 112 Normalize 56 Nudge Segment 79 Open 112 opening sound files 36 split stereo files 36 Open Project 73 Open Recent 73 Open Sound File 73 Panels Show Hide Gain Overlay 81 Show Hide Text 81 standard large size 82 Parameters 114 paste Paste 134 permissions 143 playback 38 Around Selection Center 84 85 From In Point 84 From Playhead 84 From Selectio
148. time processing can take a while NEW Shortcut ctrl cmd E for Export Tracks Step One Define the songs to export by placing Track Marks to define custom regions such as individual songs in your album Here s how Option Click on the Marks Button in the tool bar Create Start and End Marks from Digital Black Option Click to create marks from Silence Control Click to Delete All Marks The Marks button defines the Track Start and Track End marks necessary to make an export Option Click marks individual tracks The Analog Black to Marks dialog box appears r Analog Black To Marks Cer Cancel SE OK Analog Black to marks window Note the 3 seconds setting Set the time to around 3 seconds then click OK Page 22 This action automatically marks your recording from beginning to end as one long track and readies it for export to your hard drive for import into your Tunes Library AN Amara Wieryl Project 00 00 00 00 007 _ aa HO OO E E eS 00 DO opi ipa PERL E T O zar oras oa rr Waveform window showing Track Start and End Marks for each song Next enter the title for each track by clicking in the Track Name area next to the number for each track You can enter the title for each track Higher Lowe Full Mis _ Y IAE TFT T a Side Az 1 aif a 11 4 Double clicking on the Track Name brings up the box to title each track Hit the Enter or Retu
149. tire song Important Note Create a copy of your original file before restoring Y While change made using NoNOISE ll can be undone the process is destructive That means that DeClick and DeCrackle changes are made directly on the file on which you are working Because these changes are applied to the file Sonic recommends that a new file be created by duplicating the original file and working on a copy More about copying files in the Mac Finder can be found online Step 1 Create a New Project First create a New Project Open ART If a blank project is not open choose File gt New Project to create a new Project If you want to work on an existing Project choose File gt Open Step 2 Open a File Drag the file you want to restore from the Finder window onto the first Track window Waveforms will be created Step 3 Remove Clicks or Scratches Locate a click in your recorded file You can find clicks by listening to your file by hitting the space bar to play then again to stop when you hear a click or locating them in the waveform Page 26 pi Q T D oon oe Waveform showing what clicks in a recording look like Use your mouse to click in the waveform near a click This places an Edit Point in the waveform Hold the Command Key down and hit the down arrow a few times on your keyboard This action zooms to the Edit Point HINT More on zoom and waveform navigation can be found on page 36 of this
150. tivation window 7 2 11 Audio MIDI Setup This command opens the Audio MIDI Setup utility from within ART allowing you to configure your clock source and sample rate 7 2 12 Audio Device Preferences This command opens ART s Audio I O Preferences window 7 2 13 Extras 7 2 13 1 Enable Debugging This command outputs all Desk and Output Desk settings to the Console Log Page 74 7 2 13 2 Open Console Log Invoking this command launches the Console utility and opens the log associated with ART Console is the central repository for reports from running processes and applications While ART is running it outputs information to Console and that information such as details on installed options system status and actions undertaken then appears in the log Also at the command of the user certain information regarding EDLs or Projects can be output to the log as well See the following sections for more information on user selectable printing to the log file 7 2 13 3 Send Crash Report This command is designed to help Sonic Studio to diagnose problem you may be experiencing with your installation It collects the most recent crash report for ART and sends it via your internet connection to Sonic Studio 7 2 14 Reveal Sound in Finder This command requires a single selected segment As the name implies Reveal Sound In Finder switches context to the Finder and opens a new window with the source sound file highlighted 7 2 15
151. tne s era e a aaabdiedtaeriesodintsivenseiade SS 74 Page 4 Died 7 2 8 7 2 9 7 2 7 2 7 2 Vas 7 2 Vaz 7 2 SR 10 11 12 14 15 16 17 1 Lie 735 7 3 4 LO 7 3 6 a37 7 3 8 7 3 9 icy LS TD 7 3 Zaa Td I 7 4 Vide Lied 10 12 13 14 15 16 17 18 19 7 3 20 74 Save Projet rl ra dedos si n 74 Save FrojeC AS uti 74 Save AS DSF aw FO SC nn ie a eh a ara 74 ACUC ais 74 AUGIO MIDI Set rca 74 Audio Device Preterende Ss nein nea tum eed sale ete chicane are adan 74 ReEVeal SOUMNG IM FINde iia 75 BUNGE WVAV ETON td tatudecreitiats strode ont A aa a e a a 75 VISIt SOMICG StUGiO Website A e E 75 MISS UpPDOrt Rota lata iii 75 INSEdH WM Nte A 76 LMAO achom enea aa raa 76 Redo SC UO ee ada dida a S 77 CU T A E E A E A ee en A 77 CO O O 77 Paste Replace Insert Overlay cosida dida 77 Select Deselect Allo ii A A e did 77 Delete Selec LOM neritic atada 77 CIE An Cle COM acter exert eres iets ena anes ai ei abacus 78 Delete Selec ios prota E es costa aun soo hat a ose enone 78 Clear SElECUOM vsicsunececdtuntultiuswetdudsvot dei ventaldentebdereedselatovd deans sbdbnteledudatess aus 78 Create Crossfade Create SegMent Vins ds 78 Create Crossfade from In Point Create Segment from In amp Out Point s 78 Delete Crosstade rindo dadas 79 MOVES eMe Sui AA 79 Sea ment Sales A a 79 ReverSe PO latinas SA AA autade a een tee 79 Nudge Segment Let Riba ai 79
152. um and writes that Estimate into the Estimate Window Section 1 2 2 2 below discusses where to take a Estimate in detail Page 112 9 2 3 Where to take an Estimate Once the source sound file is opened into your audio app the first step is to identify a suitable location from which to take the Estimate Since the denoising algorithm depends on a constant amplitude and spectrum in the noise floor try to listen and locate a time region with uniform noise As to duration optimum results are obtained when the Estimate is taken from a section of pure noise between about 0 3 and 0 5 seconds in length with a worst case minimum of 100 milliseconds Br T MA i 113 Si fq 0 43 Side AZ aif Where To Take A Noise Estimate Press Take Est button during playback If a region of pure or clean noise noise uncontaminated with program is unavailable as is often the case with tightly edited material then choose a region with minimal program The resulting Estimate will require manual adjustment as discussed below If an Estimate must be taken in presence of signal it is advisable to avoid sections of spectrally complex or non harmonic material as it makes manual adjustment more time consuming Note BBDN is a non destructive process It does not alter your original files Page 113 9 3 User Interface Overview ANS DeNoise 9 3 1 Take Est 1 1 Clicking the Take button samples the audio that s playing and
153. veforms are visible the arrow keys control the viewing window and a quick tap of the E key always zooms out to view the entire Project In section 3 6 page 39 below navigating your Project is discussed in more detail Page 37 3 5 Auditioning Sound 3 5 1 Playback When you press the keyboard s Space Bar the cursor changes to a speaker note and playback begins A thin vertical red line the Playhead spans the Panels and time line and moves horizontally to indicate the location of playback Figure 3 8 The cursor changes into a speaker amp note shape during playback When you first open a sound file and begin listening playback once started will begin at the left edge of the audio The Playhead will move to the right across the file When you hit the Space Bar again playback ends and the Playhead halts its motion When you hit the space bar a third time the Playhead will jump back to the left side of the waveform display the beginning of the sound file and playback will begin again 3 5 2 Playback from the Edit Point When you click anywhere inside the waveform display the entire Panel or rectangle containing the waveform display is selected The selected Panel has a medium blue background and hairline red border Once selected a click anywhere in that Panel produces a thin vertical red line with an inverted yellow triangle on top This is the Edit Point Empty Panels with Edit Point at left and Pla
154. verall location or gain law These outboard handles do effect the location of the edit event so it s recommended that you not use the outboard handle employing the inboard handle instead as mentioned above Section 4 1 4 below discusses edit events as they relate to controlling fade parameters 4 1 2 Changing the shape of the Fade By clicking the Control Point bead shown in Figure 4 1 and dragging it up or down you can adjust the rate of change setting for the fade Specifically for all fade types except exponential moving the Control Point adjusts the dB down while for an exponential fade the Control Point adjusts the Alpha or shape In either case as you make this change the fade curve will dynamically change in response and the underlying audio will also change since you are affecting the gain across the fade event When the Fade Tool is active holding the control key brings up a contextual menu Linear Root Linear v Cosine Root Cosine Exponential set Fade to Fade In Out Set Fade to CrossFade Set Fades To Selection Set Fade to Default Fade In Set Fade to Default Fade Out Set Fade to Default CrossFade Set Fade to Default CrossFadeOut Set Fade to Default CrossFadeln The Fade Tool contextual menu The Fade Tool contextual menu offers the following choices for gain law or curve Page 50 e Linear default 6 dB down in the center e Root Linear 3 dB down in the center e Cosine de
155. waveform becomes full scale This preference provides local magnification excellent for fine editing but requires that you refer to the numeric vertical scale to determine the general amplitude Show Track Scale in dB When enabled the amplitude scale is shown in dBFS or dB full scale referenced to a Tull 24 bit AES EBU data word When off the Panel s amplitude scale is shown as a non dimensional normalized value ranging from O to 1 equating to digital silence or full scale respectively scroll Mouse Down Takes advantage of your mouse scroll wheel When selected downward scrolling moves are respected When deselected downward scrolling moves upward Playing Auto Tools The Playing Auto Tools section has the following settings Page 104 e AutoScroll Playhead When selected the Playhead will move as normal until it reaches the right edge of the waveform display Then the Move Forward command automatically takes place moving the waveform view to the right e AutoScroll Track When selected the Playhead stays centered in the wavetorm display while the underlying waveform display continuously scrolls 7 9 6 The Help Menu The Help Menu Selecting ART Help opens a Help Window that displays ART topics of interest Page 105 Chapter 8 NONOISE Il DeGlick 8 DeCrackle Sonic Studios NoNOISE ll is the world s premier tool for restoring vintage and problematic audio recordings ART offe
156. y on On a Gain Node Lock Gain Node locks the selected Gain Node s Unlock Gain Node unlocks the selected Gain Node s Delete Nodes From Selection deletes all nodes within the current selection Lock Nodes from Selection locks all nodes within the current selection Unlock Nodes from Selection unlocks all nodes within the current selection Lock All Nodes in Track locks all nodes in the Panel Unlock All Nodes in Track unlocks all nodes in the Panel In the Track Bar Hovering over a Track Start End or Index Mark Track Mark Locked locks the selected Track Mark Track Mark Unlocked unlocks the selected Track Mark Lock marks From Selection locks all Track Marks in a selected region or segment s Unlock marks From Selection unlocks all Track Marks in a selected region or segment s Lock All Marks locks all Track marks in a track Unlock All Marks unlocks all Track marks in a track Set Emphasis sets emphasis flag for the selected Track Mark Reset Emphasis flag resets emphasis flag for the selected Track mark Delete Mark deletes selected Track mark In the waveform display Hovering over a fade in fade out or crossfade with Fade Tool enabled Linear set the fade curve to be 6dB down in the center of the fade Root linear set the fade curve to be 6dB down in the center of the fade Cosine default 3 dB down in the center Root Cosine default 6 dB down in the cente
157. yhead at right When the Edit Point is present playback will always start from the Edit Point When you stop playback and start again the Playhead will jump to the Edit Point and start playback from there Page 38 You can move the Edit Point by clicking on a new location in the waveform display The Edit Point will jump to the click location Alternatively you can click and drag the Edit Point s yellow triangle to move it to a new location 3 5 3 Playback from Playhead The Playhead itself can also be manipulated directly By double clicking in the black time line banner the Playhead is moved to the click location and playback begins You can also edit the large central time code address in the time display at the top of a Project which will move the Playhead to the specified address Section 3 5 5 page 39 below discusses the time display TheTransport Controls above the top Panel provide tape transport emulation so you can play stop and continue playing from the current location You can also select the Play gt From Playhead command 3 5 4 Random Play If you hold down the option key and move your cursor to any location in the waveform you can click hold the mouse button The Playhead will move to your click location playback will begin and continue as long as the mouse button is held down 3 5 5 Time Displays The large central time code display in the center top of the Project window is live and editable As mentioned a
158. your selection An area will be highlighted in yellow orange indicating the selected region Page 40 A region selected indicated by the yellow highlight You can click drag either left or right to define a selection In addition you can fine tune the boundaries of a selected region Hold down the shift key and click on either side of the selected region then while continuing to hold the shift key drag left or right to expand or contract the selection 4 Note that the format in which all time fields are represented in ART is set to 75 CD Y Frames per second Note also that when a region is selected and playback is invoked the Playhead relocates and playback starts at the beginning of the selection 3 7 2 Selecting Segments An entire sound file segment the representation of contiguous samples from a single sound file can be chosen as a selection Click on the white Title Bar at the top of any segment which displays the source sound file name Lovely El1 1 it i The Title Bar The waveform highlights yellow orange and a bright yellow bar appears below it running the entire length of the segment to indicate that the segment has been selected Page 41 A selected segment indicated by the yellow highlight By holding down the shift key and simultaneously clicking in other segment s Title Bars a selection of contiguous segments can be made Also while holding down the Apple or command key an
159. your soundfile names are less than 27 spaces long before file type suffix You may need to rename them removing extra characters in the Finder prior to importing them into the ART environment For example 01 Copland_Fanfare_For_The_Common_Man aiff should be renamed to 01 Copland_Fanfare aiff You can always rename files to their proper titles in the Finder prior to final delivery after exporting or in the Mark Info window for CDTEXT A1 4 Hardware Considerations Routine Maintenance In this day and age of a BSD based operating system and a journaling self healing file system it still is incumbent upon the cautious and wise engineer to perform routine maintenance on any host computers Here are some tips we recommend File Systems If you own a copy of DiskWarrior lt www alsoft com gt run it monthly or when you host behaves strangely If you don t own a copy you should Periodic maintenance is still needed with OS 10 and there is no better file system maintenance utility than DiskWarrior Storage Systems ART is fully compliant with Mac OS 10 5 8 and higher Therefore sound material can be used from any drive that your computer can access This includes network attached and removable drives as well near line optical drives That said not all mountable storage devices are suitable Page 142 for reliable real time or higher speed reads and writes of sound files Always run ART from the boot volume Always store all

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